,illustration3 ,,rembrandt ,,van ,,ryn 7,,by ,,himself7 ,national ,gallery1 ,london ,masterpieces of ,art ,,rembrandt ,a ,,collection ,,of ,,fifteen ,,pictures ,,and ,a ,,portrait ,,of ,,the ,,painter ,,with ,,introduction ,,and ,,interpretation ,,by ,,estelle ,m4 ,,hurll ,,boston ,,and ,,new ,,york ,,houghton ,,mifflin ,,company ,the ,riverside ,press ,cambridge #ahii ,,copyright1 #ahii1 ,,by ,,houghton1 ,,mifflin ,,co4 99 99 99 99 99 ,,preface ,the choice of pictures for this collection has been made with the object of familiarizing the student with works fairly representative of ,rembrandt's art in portraiture and ,biblical illustration1 landscape and genre study1 in painting and etching4 ,admirers of the ,dutch master may miss some well-known pictures4 ,for obvious reasons the ,lecture in ,anatomy is deemed unsuitable for this place1 and the ,hundred ,guilder ,print contains too many figures to be reproduced here clearly4 ,the ,syndics of the ,cloth ,guild and the print of ,christ ,preaching will compensate for these omissions1 and show ,rembrandt at his best1 both with brush and burin4 ,there are perhaps no paintings in the world more difficult to reproduce satisfactorily in black and white than those of ,rembrandt4 ,his marvelous effects of chiaroscuro leave in darkness portions of the composition1 which appear in the photograph as unintelligible blurs4 ,with these difficulties to meet1 great pains have been taken to select for the reproductions of this book the best photographs made direct from the original paintings4 ,a comparative study of the available material has resulted in making use of an almost equal number from ,messrs4 ,hanfstaengl ,co4 and ,messrs4 ,braun ,cie4 ,in reproducing the etchings the publishers have been most fortunate in being able to use for the purpose original prints in the ,harvey ,d4 ,parker ,collection of the ,boston ,museum of ,fine ,arts4 ,,estelle ,m4 ,,hurll4 ,,new ,,bedford1 ,,mass4 ,november1 #ahii4 99 99 99 99 99 ,,contents ,,and ,,list ,,of ,,pictures ,,portrait ,,of ,,rembrandt4 ,,painted ,,by ,,himself4 ,frontispiece4 ,,from ,,photograph ,,by ,,maison ,,ad4 ,,braun ,,cie4 ,,introduction ,i4 ,,on ,,rembrandt',s ,,character ,,as ,,an ,,artist ,,ii4 ,,on ,,books ,,of ,,reference ,,iii4 ,,historical ,,directory ,,of ,,the ,,pictures ,,of ,,this ,,collection ,,iv4 ,,outline ,,table ,,of ,,the ,,principal ,,events ,,in ,,rembrandt',s ,,life ,v4 ,,some ,,of ,,rembrandt',s ,,famous ,,contemporaries ,,in ,,holland ,,vi4 ,,foreign ,,contemporary ,,painters ,i4 ,,jacob ,,wrestling ,,with ,,the ,,angel ,,picture ,,from ,,photograph ,,by ,,franz ,,hanfstaengl ,,ii4 ,,israel ,,blessing ,,the ,,sons ,,of ,,joseph ,,picture ,,from ,,photograph ,,by ,,franz ,,hanfstaengl ,,iii4 ,,the ,,angel ,,raphael ,,leaving ,,the ,,family ,,of ,,tobit ,,picture ,,from ,,photograph ,,by ,,maison ,,ad4 ,,braun ,,cie ,,iv4 ,,the ,,rat ,,killer ,,picture ,,from ,,original ,,etching ,,in ,,the ,,museum ,,of ,,fine ,,arts1 ,,boston ,v4 ,,the ,,philosopher ,,in ,,meditation ,,picture ,,from ,,photograph ,,by ,,maison ,,ad4 ,,braun ,,cie ,,vi4 ,,the ,,good ,,samaritan ,,picture ,,from ,,original ,,etching ,,in ,,the ,,museum ,,of ,,fine ,,arts1 ,,boston ,,vii4 ,,the ,,presentation ,,in ,,the ,,temple ,,picture ,,from ,,photograph ,,by ,,franz ,,hanfstaengl ,,viii4 ,,christ ,,preaching ,,picture ,,from ,,original ,,etching ,,in ,,the ,,museum ,,of ,,fine ,,arts1 ,,boston ,,ix4 ,,christ ,,at ,,emmaus ,,picture ,,from ,,photograph ,,by ,,maison ,,ad4 ,,braun ,,cie ,x4 ,,portrait ,,of ,,saskia ,,picture ,,from ,,photograph ,,by ,,franz ,,hanfstaengl ,,xi4 ,,the ,,sortie ,,of ,,the ,,civic ,,guard ,,picture ,,from ,,photograph ,,by ,,maison ,,ad4 ,,braun ,,cie ,,xii4 ,,portrait ,,of ,,jan ,,six ,,picture ,,from ,,original ,,etching ,,in ,,the ,,museum ,,of ,,fine ,,arts1 ,,boston ,,xiii4 ,,portrait ,,of ,,an ,,old ,,woman ,,picture ,,from ,,photograph ,,by ,,maison ,,ad4 ,,braun ,,cie ,,xiv4 ,,the ,,syndics ,,of ,,the ,,cloth ,,guild ,,picture ,,from ,,photograph ,,by ,,franz ,,hanfstaengl ,,xv4 ,,the ,,three ,,trees ,,picture ,,from ,,original ,,etching ,,in ,,the ,,museum ,,of ,,fine ,,arts1 ,,boston ,,xvi4 ,,the ,,portrait ,,of ,,rembrandt 7,see ,frontispiece7 ,,pronouncing ,,vocabulary ,,of ,,proper ,,names ,,and ,,foreign ,,words 99 99 99 99 99 ,,introduction ,i4 ,,on ,,rembrandt',s ,,character ,,as ,,an ,,artist ,a general impression prevails with the large picture-loving public that a special training is necessary to any proper appreciation of ,rembrandt4 ,he is the idol of the connoisseur because of his superb mastery of technique1 his miracles of chiaroscuro1 his blending of colors4 ,those who do not understand these matters must1 it is supposed1 stand quite without the pale of his admirers4 ,too many people1 accepting this as a dictum1 take no pains to make the acquaintance of the great ,dutch master4 ,it may be that they are repelled at the outset by ,rembrandt's indifference to beauty4 ,his pictures lack altogether those superficial qualities which to some are the first requisites of a picture4 ,weary of the familiar commonplaces of daily life1 the popular imagination looks to art for happier scenes and fairer forms4 ,this taste1 so completely gratified by ,raphael1 is at first strangely disappointed by ,rembrandt4 ,while ,raphael peoples his canvases with beautiful creatures of another realm1 ,rembrandt draws his material from the common world about us4 ,in place of the fair women and charming children with whom ,raphael delights us1 he chooses his models from wrinkled old men and beggars4 ,rembrandt is nevertheless a poet and a visionary in his own way4 ,for physical beauty he substitutes moral expression1 says ,fromentin4 ,if in the first glance at his picture we see only a transcript of common life1 a second look discovers something in this common life that we have never before seen there4 ,we look again1 and we see behind the commonplace exterior the poetry of the inner life4 ,a vision of the ideal hovers just beyond the real4 ,thus we gain refreshment1 not by being lifted out of the world1 but by a revelation of the beauty which is in the world4 ,rembrandt becomes to us henceforth an interpreter of the secrets of humanity4 ,as ,raphael has been surnamed the divine1 for the godlike beauty of his creations1 so ,rembrandt is the human1 for his sympathetic insight into the lives of his fellow men4 ,even for those who are slow to catch the higher meaning of ,rembrandt's work1 there is still much to entertain and interest in his rare story-telling power--a gift which should in some measure compensate for his lack of superficial beauty4 ,his story themes are almost exclusively ,biblical1 and his style is not less simple and direct than the narrative itself4 ,every detail counts for something in the development of the dramatic action4 ,probably no other artist has understood so well the pictorial qualities of patriarchal history4 ,that singular union of poetry and prose1 of mysticism and practical common sense1 so striking in the ,hebrew character1 appealed powerfully to ,rembrandt's imagination4 ,it was peculiarly well represented in the scenes of angelic visitation4 ,jacob wrestling with the ,angel affords a fine contrast between the strenuous realities of life and the pure white ideal rising majestically beyond4 ,the homely group of ,tobit's family is glorified by the light of the radiant angel soaring into heaven from the midst of them4 ,rembrandt's ,new ,testament scenes are equally well adapted to emphasize the eternal immanence of the supernatural in the natural4 ,the ,presentation in the ,temple is invested with solemn significance2 the simple ,supper at ,emmaus is raised into a sacrament by the transfigured countenance of the ,christ4 ,for all these contrasts between the actual and the ideal1 ,rembrandt had a perfect vehicle of artistic expression in chiaroscuro4 ,in the mastery of the art of light and shade he is supreme4 ,his entire artistic career was devoted to this great problem1 and we can trace his success through all the great pictures from the ,presentation to the ,syndics4 ,rembrandt apparently cared very little for the nude1 for the delicate curves of the body and the exquisite colors of flesh4 ,yet to overbalance this disregard of beautiful form was his strong predilection for finery4 ,none ever loved better the play of light upon jewels and satin and armor1 the rich effectiveness of ,oriental stuffs and ecclesiastical vestments4 ,unable to gratify this taste in the portraits which he painted to order1 he took every opportunity to paint both himself and his wife1 ,saskia1 in costume4 ,wherever the subject admitted1 he introduced what he could of rich detail4 ,in the picture of ,israel ,blessing the ,sons of ,joseph1 ,asenath1 as the wife of an ,egyptian official1 is appropriately adorned with jewels and finery4 ,in the ,sortie of the ,civic ,guard1 ,captain ,cocq is resplendent in his military regalia4 ,with all this fondness for pretty things1 ,rembrandt never allowed his fancy to carry him beyond the limits of fitness in sacred art4 ,the ,venetian masters had represented the most solemn scenes of the ,new ,testament with a pomp and magnificence entirely at variance with their meaning4 ,rembrandt understood better the real significance of ,christianity1 and made no such mistake4 ,his ,supper at ,emmaus is the simple evening meal of three peasant pilgrims precisely as it is represented in the ,gospel4 ,his ,christ ,preaching includes a motley company of humble folk1 such as the great ,teacher loved to gather about him4 ,it was perhaps the obverse side of his fondness for finery1 that ,rembrandt had a strong leaning towards the picturesqueness of rags4 ,a very interesting class of his etchings is devoted to genre studies and beggars4 ,here his disregard of the beautiful in the passion for expression reached an extreme4 ,his subjects are often grotesque--sometimes repulsive--but always intensely human4 ,reading human character with rare sympathy1 he was profoundly touched by the poetry and the pathos of these miserable lives4 ,through all these studies runs a quaint vein of humor1 relieving the pathos of the situations4 ,the picturesque costume of the old ,rat ,killer tickles the sense of humor1 and conveys somehow a delightful suggestion of his humbuggery which offsets the touching squalor of the grotesque little apprentice4 ,and none but a humorist could have created the swaggering hostler's boy holding the ,good ,samaritan's horse4 ,as a revealer of character1 ,rembrandt reaches the climax of his power in his portraits4 ,from this class of his pictures alone one can repeople ,holland with the spirits of the seventeenth century4 ,all classes and conditions and all ages came within the range of his magic brush and burin4 ,the fresh girlhood of ,saskia1 the sturdy manhood of the ,syndics1 and the storied old age of his favorite old woman model show the scope of his power1 and in ,israel ,blessing the ,sons of ,joseph he shows the whole range in a single composition4 ,he is manifestly at his best when his sitter has pronounced features and wrinkled skin1 a face full of character1 which he understood so well how to depict4 ,obstacles stimulated him to his highest endeavor4 ,given the prosaic and hackneyed motif of the ,syndics' composition1 he rose to the highest point of artistic expression in a portrait group1 in which a grand simplicity of technical style is united with a profound and intimate knowledge of human nature4 ,,ii4 ,,on ,,books ,,of ,,reference ,the history of modern ,rembrandt bibliography properly begins with the famous work by ,c4 ,vosmaer1 ,rembrandt ,harmens van ,rijn1 sa ,vie et ses ,o,euvres4 ,vosmaer profited by the researches of ,kolloff and ,burger to bring out a book which opened a new era in the appreciation of the great ,dutch master4 ,it was first issued in #ahfh1 and was republished in #ahgg in an enlarged edition4 ,this book was practically alone in the field until the recent work of ,emile ,michel appeared4 ,in the ,english translation 7by ,florence ,simmonds7 edited by ,walter ,armstrong1 ,michel's ,rembrandt is at the present moment our standard authority on the subject4 ,it is in two large illustrated volumes full of historical information and criticism and containing a complete classified list of ,rembrandt's works--paintings1 drawings1 and etchings4 ,the ,complete ,work of ,rembrandt1 by ,wilhelm ,bode1 is now issuing from the press 7#ahii71 and will consist of eight volumes containing reproductions of all the master's pictures1 with historical and descriptive text4 ,it is to be hoped that this mammoth and costly work will be put into many large reference libraries1 where students may consult it to see ,rembrandt's work in its entirety4 ,the series of small ,german monographs edited by ,h4 ,knackfuss and now translated into ,english has one number devoted to ,rembrandt1 containing nearly one hundred and sixty reproductions from his works1 with descriptive text4 ,kugler's ,handbook of the ,german1 ,flemish1 and ,dutch ,schools1 revised by ,j4 ,a4 ,crowe1 includes a brief account of ,rembrandt's life and work1 which may be taken as valuable and trustworthy4 ,for a critical estimate of the character of ,rembrandt's art1 its strength and weaknesses1 and its peculiarities1 nothing can be more interesting than what ,eugene ,fromentin1 ,french painter and critic1 has written in his ,old ,masters of ,belgium and ,holland4 ,rembrandt's etchings have been the exclusive subject of many books4 ,there are voluminous descriptive catalogues by ,bartsch 7,le ,peintre ,graveur7 ,claussin1 ,wilson1 ,charles ,blanc1 ,middleton1 and ,dutuit4 ,a short monograph on ,the ,etchings of ,rembrandt1 by ,philip ,gilbert ,hamerton 7,london1 #ahif71 reviews the most famous prints in a very pleasant way4 ,there are valuable prints from the original plates of ,rembrandt in the ,harvey ,d4 ,parker collection of the ,boston ,museum of ,fine ,arts and in the ,gray collection of the ,fogg ,museum at ,cambridge1 ,massachusetts4 ,those who are not fortunate enough to have access to original prints will derive much satisfaction from the complete set of reproductions published in ,st4 ,petersburg 7#ahij7 with catalogue by ,rovinski1 and from the excellent reproductions of ,amand ,durand1 ,paris4 ,to come in touch with the spirit of the times and of the country of ,rembrandt1 the reader is referred to ,motley's ,rise of the ,dutch ,republic1 condensed and continued by ,w4 ,e4 ,griffis4 ,,iii4 ,,historical ,,directory ,,of ,,the ,,pictures ,,of ,,this ,,collection ,portrait ,frontispiece4 ,national ,gallery1 ,london4 ,signed and dated #afdj4 #a4 ,jacob ,wrestling with the ,angel4 ,berlin ,gallery4 ,signed and dated #afei4 ,figures life size4 ,size3 #d ft4 #e-a_/af in4 by #c ft4 #i-e_/h in4 #b4 ,israel ,blessing the ,sons of ,joseph4 ,cassel ,gallery4 ,signed and dated #afef4 ,figures life size4 ,size3 #e ft4 #h-i_/af in4 by #f ft4 #f-c_/d in4 #c4 ,the ,angel ,raphael ,leaving the ,family of ,tobit4 ,louvre1 ,paris4 ,signed and dated #afcg4 ,size3 #b ft4 #b-ac_/af in4 by #a ft4 #h-a_/b in4 #d4 ,the ,rat ,killer4 ,etching4 ,signed and dated #afcb4 ,size3 #e-a_/b in4 by #d-i_/af in4 #e4 ,the ,philosopher in ,meditation4 ,louvre1 ,paris4 ,signed and dated #afcc4 ,size3 #aa-g_/af in4 by #ac in4 #f4 ,the ,good ,samaritan4 ,etching4 ,signed and dated #afcc4 ,size3 #aj-a_/e in4 by #h-c_/e in4 #g4 ,the ,presentation in the ,temple4 ,at the ,hague4 ,signed and dated #afca4 ,size3 #b ft4 #d-aa_/af in4 by #a ft4 #f-g_/h in4 #h4 ,christ ,preaching4 ,etching4 ,date assigned by ,michel1 about #afeb4 ,size3 #f-a_/e in4 by #h-a_/e in4 #i4 ,christ at ,emmaus4 ,louvre1 ,paris4 ,signed and dated #afdh4 ,size3 #b ft4 #b-ac_/af in4 by #b ft4 #a-e_/h in4 #aj4 ,portrait of ,saskia4 ,cassel ,gallery4 ,painted about #afcb-afcd4 ,life size4 ,size3 #c ft4 #b-aa_/af in4 by #b ft4 #a-c_/e in4 #aa4 ,sortie of the ,civic ,guard4 ,ryks ,museum 7,trippenhuis71 ,amsterdam4 ,signed and dated #afdb4 ,life size figures4 ,size3 #aa ft4 #i-c_/h in4 by #ad ft4 #c-e_/af in4 #ab4 ,portrait of ,jan ,six4 ,etching4 ,signed and dated #afdg4 ,size3 about #i-c_/h in4 by #g-c_/h in4 #ac4 ,portrait of an ,old ,woman4 ,hermitage ,gallery1 ,st4 ,petersburg4 ,signed and dated #afed4 ,size3 #c ft4 #f-g_/h in4 by #b ft4 #i in4 #ad4 ,the ,syndics of the ,cloth ,guild4 ,ryks ,museum 7,trippenhuis71 ,amsterdam4 ,signed and dated #affa4 ,life size figures4 ,size3 #f ft4 #g_/h in4 by #h ft4 #aa-ae_/af in4 #ae4 ,the ,three ,trees4 ,etching1 #afdc4 ,size3 #h-b_/e in4 by #aa in4 ,,iv4 ,,outline ,,table ,,of ,,the ,,principal ,,events ,,in ,,rembrandt',s ,,life #afjf4a ,rembrandt born in ,leyden4 #afba4 ,rembrandt apprenticed to the painter1 ,jacob van ,swanenburch4 #afbd4 ,rembrandt studied six months with ,pieter ,lastman in ,amsterdam4 #afbg4 ,rembrandt's earliest known works1 ,st4 ,paul in ,prison1 7,stuttgart ,museum72 ,the ,money ,changers 7,berlin ,gallery74 #afca4 ,rembrandt removed to ,amsterdam4 #afca4 ,the ,presentation painted4 #afcb4 ,the ,anatomy ,lecture painted4 #afcc4 ,the portrait of the ,shipbuilder and his ,wife painted4 #afcd4 ,rembrandt married ,saskia van ,uylenborch1 ,june #bb1 in ,bildt4 #afce4 ,rembrandt's son ,rombertus baptized ,december #ae4 7,died in infancy47 #afcg4 ,angel ,raphael ,leaving ,family of ,tobit painted4 #afch4 ,rembrandt's daughter ,cornelia born4 7,died in early childhood47 #afci4 ,rembrandt bought a house in the ,joden ,breestraat4 #afdj4 ,rembrandt's second daughter born and died4 #afdj4 ,rembrandt's mother died4 #afdj4 ,the ,carpenter's ,household painted4 #afda4 ,manoah's ,prayer painted4 #afda4 ,rembrandt's son ,titus baptized4 #afdb4 ,sortie of the ,civic ,guard 7,the ,night ,watch7 painted for the hall of the ,amsterdam ,musketeers4 ,footnote #a3 ,authorities are not entirely unanimous as to the date of ,rembrandt's birth4 #afdb4 ,rembrandt's wife1 ,saskia1 died4 #afdh4 ,christ at ,emmaus painted4 #afdi4 ,the ,hundred ,guilder print etched4 #afea4 ,christ ,appearing to ,magdalen painted4 #afeb4 ,christ ,preaching etched4 #afef4 ,rembrandt's bankruptcy4 #afef4 ,israel ,blessing the ,sons of ,joseph painted4 #affa4 ,portrait of the ,syndics painted for the ,guild of ,drapers1 ,amsterdam4 #affh4 ,rembrandt's son ,titus died4 #affi4 ,rembrandt died4 ,v4 ,,some ,,of ,,rembrandt',s ,,famous ,,contemporaries ,,in ,,holland ,frederick ,henry of ,orange1 stadtholder1 #afbe4 ,princess ,amalia of ,solms1 wife of ,frederick ,henry1 built the ,huis ten ,bosch 7,house in the ,woods7 at the ,hague1 #afdg4 ,william ,,ii of ,orange1 stadtholder1 #afdg4 ,in #afej the stadt-holderate was suppressed1 and ,john de ,witt became in #afec chief executive of the republic for twenty years4 ,murdered in #afgb4 ,john of ,barneveld1 ,grand ,pensioner1 the greatest statesman in all the history of the ,netherlands 7,griffis74 ,executed ,may #bd1 #afai4 ,michael de ,ruyter1 the ,dutch ,nelson1 died #afgf4 ,marten ,harpertzoon von ,tromp1 admiral4 ,born #aeig2 died #afia4 7,he defeated the ,english fleet under ,blake47 ,cornelius ,evertsen1 admiral4 ,floriszoon1 admiral4 ,witte de ,with1 admiral4 ,hendrik ,hudson1 navigator and discoverer2 first voyage1 #afjg1 last voyage1 #afaj4 ,captain ,zeachen1 discoverer4 ,hugo ,grotius1 father of international law1 #aehc-afde4 ,jan ,six1 burgomaster1 bibliophile1 art connoisseur1 and dramatist1 #afah-agjj4 ,spinoza1 philosopher1 #afbb-afgg4 ,joost van den ,vondel1 poet and dramatist1 #aehg-afgi4 ,jacob ,cats1 ,grand ,pensionary and poet1 #aegg-affj4 ,constantine ,huyghens1 poet4 ,gysbart ,voet 7,latin1 ,voetius7 #aehh-afgh1 professor of theology at ,utrecht4 ,cornelis ,jansen1 born #aehe4 ,professor of scripture interpretation at ,louvain4 ,johannes ,koch 7,latin1 ,coccejus71 #afjc-affi1 professor of theology at ,leyden and1 after ,erasmus1 the father of modern ,biblical criticism4 ,j4 van ,kampen1 architect1 built the ,het ,palais 7,royal ,palace7 in ,amsterdam1 #afdh4 ,jansz ,vinckenbrink1 sculptor4 ,hendrik de ,keyser1 sculptor4 ,crabeth brothers1 designers of stained glass4 ,painters3-- ,franz ,hals1 #aehd-afff4 ,gerard ,honthorst1 #aeij-afef4 ,albert ,cuyp1 #afje-afia4 ,jan van ,goyen1 #aeif-afef4 ,jacob ,ruysdael1 #afbe-afhb4 ,paul ,potter1 #afbe-afed4 ,jan ,lievens1 born #afjg2 died after #afgb4 ,salomon ,koning1 #afji-affh4 ,gerard ,terburg1 #afjh-afha4 ,nicolas ,berghem1 #afbj-afhc4 ,jan ,steen1 #afbf-afgi4 ,adrian van ,ostade1 #afaj-afhe4 ,rembrandt's pupils3-- ,ferdinand ,bol1 #afaf-afhj4 ,govert ,flinck1 #afae-affj4 ,van den ,eeckhont1 #afbj-afgd4 ,gerard ,don1 #afac-afhj4 ,nicolas ,maes1 #afcb-afic4 ,juriaen ,ovens1 #afbc4 ,hendrick ,heerschop1 born #afbj1 entered ,rembrandt's studio1 #afdd4 ,carl ,fabritius1 #afbd-afed4 ,samuel van ,hoogstraaten1 born #afbg1 with ,rembrandt1 #afdj-afej4 ,aert de ,gelder1 #afde-agbg4 ,less important names3 ,jan van ,glabbeck1 ,jacobus ,levecq1 ,heyman ,dullaert1 ,johan ,hendricksen1 ,adriaen ,verdael1 ,cornelis ,drost4 ,,vi4 ,,foreign ,,contemporary ,,painters ,flemish3-- ,peter ,paul ,rubens1 #aegg-afdj4 ,anthony ,van ,dyck1 #aeii-afda4 ,jacob ,jordaens1 #aeid-afgh4 ,franz ,snyders1 #aegd-afeg4 ,gaspard de ,craeyer1 #aehb-affi4 ,david ,teniers1 #afaj-afij4 ,spanish3-- ,velasquez1 #aeii-affj4 ,pacheco1 #aega-afed4 ,cano1 #afja-afgf4 ,herrera1 #aegf-afef4 ,zurbaran1 #aeih-affb4 ,murillo1 #afah-afhb4 ,french3-- ,simon ,vouet1 #aehb-afda4 ,charles ,le ,brun1 #afai-afij4 ,eustache ,le ,sueur1 #afag-afee4 ,italian3-- ,carlo ,dolci1 #afaf-afhf4 ,guido ,reni1 #aege-afdb4 ,domenichino1 #aeha-afda4 ,francesco ,albani1 #aegh-affj4 ,guercino1 #aeia-afff4 ,sassoferrato1 #afje-afhe4 ,i ,,jacob ,,wrestling ,,with ,,the ,,angel ,the history of the ,old ,testament patriarch ,jacob reads like a romance4 ,he was the younger of the two sons of ,isaac1 and was at a great disadvantage on this account4 ,among his people the eldest son always became the family heir and also received the choicest blessing from the father1 a privilege coveted as much as wealth4 ,in this case therefore the privileged son was ,jacob's brother ,esau4 ,jacob resented keenly the inequality of his lot2 and his mother sympathized with him1 as he was her favorite4 ,a feeling of enmity grew up between the brothers1 and in the end ,jacob did ,esau a great wrong4 ,one day ,esau came in from hunting1 nearly starved1 and finding his younger brother cooking some lentils1 begged a portion of it for himself4 ,jacob seized the chance to make a sharp bargain4 ,he offered his brother the food--which is called in the quaint ,bible language a mess of pottage--making him promise in return that he would let their father give his blessing to the younger instead of the older son4 ,esau was a careless fellow1 too hungry to think what he was saying1 and so readily yielded4 ,but though ,esau might sell his birthright in this fashion1 the father would not have been willing to give the blessing to the younger son1 had it not been for a trick planned by the mother4 ,the old man was nearly blind1 and knew his sons apart by the touch of their skin1 as ,esau had a rough1 hairy skin and ,jacob a smooth one4 ,the mother put skins of kids upon ,jacob's hands and neck and bade him go to his father pretending to be ,esau1 and seek his blessing4 ,the trick was successful1 and when a little later ,esau himself came to his father on the same errand1 he found that he had been superseded4 ,naturally he was very angry1 and vowed vengeance on his brother4 ,jacob1 fearing for his life1 fled into a place called ,padanaram4 ,in this place he became a prosperous cattle farmer and grew very rich4 ,he married there also and had a large family of children4 ,after fourteen years he bethought himself of his brother ,esau and the great wrong he had done him4 ,he resolved to remove his family to his old home1 and to be reconciled with his brother4 ,hardly daring to expect to be favorably received1 he sent in advance a large number of cattle in three droves as a gift to ,esau4 ,then he awaited over night some news or message from his brother4 ,in the night a strange adventure befell him4 ,this is the way the story is told in the book of ,genesis4#b ,footnote #b3 ,genesis1 chapter xxxii4 verses #bd-ca4 ,illustration3 ,,jacob ,,wrestling ,,with ,,the ,,angel ,berlin ,gallery ,there wrestled a man with him until the breaking of the day4 ,and when he saw that he prevailed not against him1 he touched the hollow of his thigh2 and the hollow of ,jacob's thigh was out of joint1 as he wrestled with him4 ,and he said1 ',let me go1 for the day breaketh4' ,and he said1 ',i will not let thee go1 except thou bless me1' ,and he said unto him1 ',what is thy name8' ,and he said1 ',jacob1' ,and he said1 ',thy name shall be called no more ,jacob1 but ,israel2 for as a prince hast thou power with ,god and with men1 and hast prevailed4'444 ,and he blessed him there4 ,and ,jacob called the name of the place ,peniel3 for ,i have seen ,god face to face1 and my life is preserved4 ,and as he passed over ,penuel1 the sun rose upon him and he halted upon his thigh2 that is1 he walked halt1 or lame4 ,the crisis in ,jacob's life was passed1 for hardly had he set forth on this morning when he saw his brother whom he had wronged advancing with four hundred men to meet him4 ,and ,esau ran to meet him1 and embraced him1 and fell on his neck and kissed him3 and they wept4 ,so were the brothers reconciled4 ,the picture represents ,jacob wrestling with his mysterious adversary4 ,we have seen from his history how determined he was to have his own way1 and how he wrested worldly prosperity even from misfortunes4 ,now he is equally determined in this higher and more spiritual conflict4 ,it is a very real struggle1 and ,jacob has prevailed only by putting forth his utmost energy4 ,it is the moment when the grand angel1 pressing one knee into the hollow of ,jacob's left thigh and laying his hand on his right side1 looks into his face and grants the blessing demanded as a condition for release4 ,strong and tender is his gaze1 and the gift he bestows is a new name1 in token of the new character of brotherly love of which this victory is the beginning4 ,the story of ,st4 ,michael and the ,dragon1 which ,raphael has painted1 stands for the everlasting conflict between good and evil in the world4 ,there is a like meaning in the story of ,jacob's wrestling with the angel4 ,the struggle is in the human heart between selfish impulses and higher ideals4 ,the day when one can hold on to the good angel long enough to win a blessing1 is the day which begins a new chapter in a man's life4 ,,ii ,,israel ,,blessing ,,the ,,sons ,,of ,,joseph ,when ,jacob wrestled with the angel he received a new name1 ,israel1 or a prince1 a champion of ,god4 ,israel became the founder of the great ,israelite nation1 and from his twelve sons grew up the twelve tribes of ,israel1 among whom was distributed the country now called ,palestine4 ,among these sons the father's favorite was ,joseph1 who was next to the youngest4 ,this favoritism aroused the anger and jealousy of the older brothers1 and they plotted to get rid of him4 ,one day when they were all out with some flocks in a field quite distant from their home1 they thought they were rid forever of the hated ,joseph by selling him to a company of men who were journeying to ,egypt4 ,then they dipped the lad's coat in goat's blood and carried it to ,israel1 who1 supposing his son to have been devoured by a wild beast1 mourned him as dead4 ,when ,joseph had grown to manhood in ,egypt1 a singular chain of circumstances brought the brothers together again4 ,there was a sore famine1 and ,egypt was the headquarters for the sale of corn4 ,joseph had shown himself so able and trustworthy that he was given charge of selling and distributing the stores of food4 ,so when ,israel's older sons came from their home to ,egypt to buy corn they had to apply to ,joseph1 whom they little suspected of being the brother they had so cruelly wronged4 ,there is a pretty story1 too long to repeat here1 of how ,joseph disclosed himself to his astonished brethren1 and forgave them their cruelty1 how he sent for his father to come to ,egypt to live near him1 how there was a joyful reunion1 and how they all lived happily ever after4 ,when the time drew near for ,israel to die1 he desired to bestow his last blessing on his sons4 ,and first of all his beloved son ,joseph brought him his own two boys1 ,ephraim and ,manasseh4 ,now according to the traditions of the patriarchs1 it was the eldest son who should receive the choicest blessing from his father4 ,israel1 however1 had found among his own sons that it was a younger one1 ,joseph1 who had proved himself the most worthy of love4 ,this may have shaken his faith in the wisdom of the old custom4 ,perhaps1 too1 he remembered how his own boyhood had been made unhappy because he was the younger son1 and how he had on that account been tempted to deceit4 ,whatever the reason1 he surprised ,joseph at the last moment by showing a preference for the younger of the two grandsons1 ,ephraim1 expressing this preference by laying the right hand1 instead of the left1 on his head4 ,the blessing was spoken in these solemn words3 ,god1 before whom my fathers ,abraham and ,isaac did walk1 the ,god which fed me all my life long unto this day1 the ,angel which redeemed me from all evil1 bless the lads4 ,illustration3 ,,israel ,,blessing ,,the ,,sons ,,of ,,joseph ,cassel ,gallery ,the narrative relates#c that ,when ,joseph saw that his father laid his right hand upon the head of ,ephraim1 it displeased him2 and he held up his father's hand1 to remove it from ,ephraim's head unto ,manasseh's head4 ,and ,joseph said unto his father1 ',not so1 my father3 for this is the first-born2 put thy right hand upon his head4' ,and his father refused1 and said1 ',i know it1 my son1 ,i know it3 he also shall become a people1 and he also shall be great2 but truly his younger brother shall be greater than he1 and his seed shall become a multitude of nations4' ,and he blessed them that day1 saying1 ',in thee shall ,israel bless1 saying1 ,god make thee as ,ephraim1 and as ,manasseh2' and he set ,ephraim before ,manasseh4 ,footnote #c3 ,genesis1 chapter xlviii4 verses #ag-bj4 ,as we compare the picture with the story1 it is easy to identify the figures4 ,we are naturally interested in ,joseph as the hero of so many romantic adventures4 ,as a high ,egyptian official1 he makes a dignified appearance and wears a rich turban4 ,his face is gentle and amiable1 as we should expect of a loving son and forgiving brother4 ,in the old man we see the same ,jacob who wrestled by night with the ,angel and was redeemed from his life of selfishness4 ,the same strong face is here1 softened by sorrow and made tender by love4 ,the years have cut deep lines of character in the forehead1 and the flowing beard has become snowy white4 ,the dying patriarch has strengthened himself1 to sit up on the bed for his last duty1 and his son ,joseph supports him4 ,the children kneel together by the bedside1 the little ,ephraim bending his fair head humbly to receive his grandfather's right hand1 ,manasseh looking up alertly1 almost resentfully1 as he sees that hand passing over his own head to his brother's4 ,joseph's wife ,asenath1 the children's mother1 stands beyond1 looking on musingly4 ,we see that it is a moment of very solemn interest to all concerned4 ,though the patriarch's eyes are dim and his hand trembles1 his old determined spirit makes itself manifest4 ,joseph is in perplexity between his filial respect and his solicitude for his first-born4 ,he puts his fingers gently under his father's wrist1 trying to lift the hand to the other head4 ,the mother seems to smile as if well content4 ,perhaps she shares the grandfather's preference for little ,ephraim4 ,the picture is a study in the three ages of man1 childhood1 manhood1 and old age1 brought together by the most tender and sacred ties of human life1 in the circle of the family4 ,,iii ,,the ,,angel ,,raphael ,,leaving ,,the ,,family ,,of ,,tobit ,the story of ,tobit is found in what is called the ,apocrypha1 that is1 a collection of books written very much in the manner of the ,bible1 and formerly bound in ,bibles between the ,old and the ,new ,testament4 ,the story goes that when ,enemessar1 ,king of ,assyria1 conquered the people of ,israel1 he led away many of them captive into ,assyria1 among them the family of ,tobit1 his wife ,anna1 and their son ,tobias4 ,they settled in ,nineveh1 and ,tobit1 being an honest man1 was made purveyor to the king4 ,that is1 it was his business to provide food for the king's household4 ,in this office he was able to lay up a good deal of money1 which he placed for safe keeping in the hands of ,gabael1 an ,israelite who lived at ,rages in ,media4 ,tobit was a generous man1 and he did many kind deeds for his less fortunate fellow exiles2 he delighted in feeding the hungry and clothing the naked4 ,when ,sennacherib was king of ,assyria1 many ,jews were slain and left lying in the street1 and ,tobit1 finding their neglected bodies1 buried them secretly4 ,one night1 after some such deed of mercy1 a sad affliction befell him4 ,white films came over his eyes1 causing total blindness4 ,in his distress he prayed that he might die1 and began to make preparations for death4 ,he called his son ,tobias to him and gave him much good advice as to his manner of life1 and then desired him to go to ,rages to obtain the money left there with ,gabael4 ,but ,tobias must first seek a guide for the journey4 ,therefore1 says the story1 when he went to seek a man1 he found ,raphael that was an angel4 ,but he knew not2 and he said unto him1 ',canst thou go with me to ,rages8 and knowest thou those places well8' ,to whom the angel said1 ',i will go with thee1 and ,i know the way well3 for ,i have lodged with our brother ,gabael1' ,the angel gave himself the name ,azarias4 ,so they went forth both1 and the young man's dog with them4 ,as they went on their journey1 they came in the evening to the river ,tigris1 and they lodged there4 ,and when the young man went down to wash himself1 a fish leaped out of the river1 and would have devoured him4 ,then the angel said unto him1 ',take the fish1' ,and the young man laid hold of the fish1 and drew it to land4 ,to whom the angel said1 ',open the fish and take the gall1 and put it up safely4' ,so the young man did as the angel commanded him1 and when they had roasted the fish1 they did eat it3 then they both went on their way1 till they drew near to ,ecbatane4 ,then the young man said to the angel1 ',brother ,azarias1 to what use is the gall of the fish8' ,and he said unto him1 ',it is good to anoint a man that hath whiteness in his eyes1 and he shall be healed4' ,illustration3 ,,the ,,angel ,,raphael ,,leaving ,,the ,,family ,,of ,,tobit ,the ,louvre1 ,paris ,after this curious incident there were no further adventures till they came to ,ecbatane4 ,here they lodged with ,raguel1 a kinsman of ,tobit1 and when ,tobias saw ,sara1 the daughter1 he loved her and determined to make her his wife4 ,he therefore tarried fourteen days at ,ecbatane1 sending ,azarias on to ,rages for the money4 ,this delay lengthened the time allotted for the journey1 but at last the company drew near to ,nineveh1--,azarias or ,raphael1 and ,tobias1 with the bride1 the treasure1 and the precious fishgall4 ,raphael then gave ,tobias directions to use the gall for his father's eyes4 ,their arrival was the cause of great excitement4 ,anna ran forth1 and fell upon the neck of her son4 ,tobit also went forth toward the door1 and stumbled3 but his son ran unto him1 and took hold of his father3 and he strake of the gall on his father's eyes1 saying1 ',be of good hope1 my father4' ,and when his eyes began to smart1 he rubbed them2 and the whiteness pilled away from the corners of his eyes3 and when he saw his son1 he fell upon his neck4 ,now ,tobit and ,tobias were full of gratitude to ,azarias for all that he had done for them1 and1 consulting together as to how they could reward him1 decided to give him half the treasure4 ,so the old man called the angel1 and said1 ,take half of all that ye have brought1 and go away in safety4 ,then ,raphael took them both apart1 and said unto them1 ,bless ,god1 praise him1 and magnify him1 and praise him for the things which he hath done unto you in the sight of all that live4 ,with this solemn introduction the angel goes on to tell ,tobit that he had been with him when he had buried his dead countrymen1 and that his good deeds were not hid from him1 and that his prayers were remembered4 ,he concludes by showing who he really is4 ,i am ,raphael1 one of the seven holy angels1 which present the prayers of the saints1 and which go in and out before the glory of the ,holy ,one4 ,then they were both troubled1 and fell upon their faces3 for they feared ,god4 ,but he said unto them1 ',fear not1 for it shall go well with you2 praise ,god therefore4 ,for not of any favor of mine1 but by the will of our ,god ,i came2 wherefore praise him for ever4 ,all these days ,i did appear unto you2 but ,i did neither eat nor drink1 but ye did see a vision4 ,now therefore give ,god thanks3 for ,i go up to him that sent me4' ,and when they arose1 they saw him no more4 ,the picture shows us the moment when the angel suddenly rises from the midst of the little company and strikes out on his flight through the air like a strong swimmer4 ,tobit and ,tobias fall on their knees without1 while ,anna and the bride ,sara stand in the open door with the frightened little dog cowering beside them4 ,the older people are overcome with wonder and awe1 but ,tobias and ,sara1 more bold1 follow the radiant vision with rapturous gaze4 ,,iv ,,the ,,rat ,,killer ,the pictures we have examined thus far in this collection have been reproductions from ,rembrandt's paintings4 ,you will see at once that the picture of the ,rat ,killer is of another kind4 ,the figures and objects are indicated by lines instead of by masses of color4 ,you would call it a drawing1 and it is in fact a drawing of one kind1 but properly speaking1 an etching4 ,an etching is a drawing made on copper by means of a needle4 ,the etcher first covers the surface of the metal with a layer of some waxy substance and draws his picture through this coating1 or etching ground1 as it is called4 ,next he immerses the copper plate in an acid bath which bites1 or grooves1 the metal along the lines he has drawn without affecting the parts protected by the etching ground4 ,the plate thus has a picture cut into its surface1 and impressions of this picture may be taken by filling the lines with ink and pressing wet paper to the surface of the plate4 ,you will notice that the difference between the work of an engraver and that of an etcher is that the former cuts the lines in his plate with engraving tools1 while the latter only draws his picture on the plate and the acid cuts the lines4 ,the word etching is derived from the ,dutch etzen1 and the most famous etchers in the world have been among ,dutch and ,german artists4 ,rembrandt is easily first of these1 and we should have but a limited idea of his work if we did not examine some of his pictures of this kind4 ,impressions made directly from the original plates1 over two centuries ago1 are1 of course1 very rare and valuable1 and are carefully preserved in the great libraries and museums of the world4 ,there is a collection in the ,museum of ,fine ,arts1 ,boston1 where this etching of the ,rat ,killer may be seen4 ,the ,rat ,killer is one of many subjects from the scenes of common life which surrounded the artist4 ,in smaller towns and villages1 then as well as now1 there were no large shops where goods were to be bought4 ,instead1 all sorts of peddlers and traveling mechanics went from house to house--the knife grinder1 the ragman1 the fiddler1 and many others4 ,this picture of the ,rat ,killer suggests a very odd occupation4 ,the pest of rats is1 of course1 much greater in old than in new countries4 ,in ,europe1 and perhaps particularly in the northern countries of ,holland and ,germany1 the old towns and villages have long been infested with these troublesome creatures4 ,illustration3 ,,the ,,rat ,,killer ,museum of ,fine ,arts1 ,boston ,there are some curious legends about them4 ,one relates how a certain ,bishop ,hatto1 as a judgment for his sins1 was attacked by an army of rats which swam across the ,rhine and invaded him in his island tower1 where they made short work of their victim4#d ,another tells how a town called ,hamelin was overrun with rats until a magic piper appeared who so charmed them with his enchanted music that they gathered about him and followed his leading till they came to the river and were drowned4#e ,footnote #d3 ,see ,southey's poem1 ,bishop ,hatto4 ,footnote #e3 ,see ,browning's poem1 ,the ,pied ,piper of ,hamelin4 ,the old ,rat ,killer in the picture looks suspiciously like a magician4 ,it seems as if he must have bewitched the rats which crawl friskily about him1 one perching on his shoulders4 ,he reminds one of some ogre out of a fairy tale1 with his strange tall cap1 his kilted coat1 and baggy trousers1 the money pouch at his belt1 the fur mantle flung over one shoulder1 and the fierce-looking sword dangling at his side4 ,but there is no magic in his way of killing rats4 ,he has some rat poison to sell which his apprentice1 a miserable little creature1 carries in a large box4 ,the picture gives us an idea of an old ,dutch village street4 ,the cottages are built very low1 with steep overhanging roofs4 ,the walls are of thick masonry1 for these were days when in small villages and outlying districts every man's house was his castle1 that is1 every man's house was intended1 first of all1 as a place of defense against outlawry4 ,the entrance doors were made in two sections1 an upper and a lower part1 or wing1 each swinging on its own hinges4 ,whenever a knock came1 the householder could open the upper wing and address the caller as through a window1 first learning who he was and what his errand1 before opening the lower part to admit him4 ,thus an unwelcome intruder could not press his way into the house by the door's being opened at his knock1 and the family need not be taken unawares4 ,in many of our modern houses we see doors made after the same plan1 and known as ,dutch doors4 ,the cautious old man in the picture has no intention of being imposed upon by wandering fakirs4 ,he has opened only the upper door and leans on the lower wing1 as on a gate1 while he listens to the ,rat ,killer's story4 ,the latter must have a marvellous tale to tell of the effects of the poison1 from the collection of dead rats which he carries as trophies in the basket fastened to the long pole in his hand4 ,but the householder impatiently pushes his hand back1 and turns away as if with disgust4 ,the apprentice1 grotesque little rat himself1 looks up rather awestruck at this grand1 turbaned figure above him4 ,v ,,the ,,philosopher ,,in ,,meditation ,ever since the beginning of human history there have been people who puzzled their brains about the reasons of things4 ,why things are as they are1 whence we came1 and whither we are going are some of the perplexing questions they have tried to answer4 ,some men have given all their lives to the study of these problems as a single occupation or profession4 ,among the ancient ,greeks1 who were a very intellectual nation1 such men were quite numerous and were held in great esteem as teachers4 ,they were called philosophers1 that is1 lovers of wisdom1 and this word has been passed down to our own times in various modern languages4 ,in the passing of the centuries men found more and more subjects to think about4 ,some studied the movements of the stars and tried to discover if they had any influence in human affairs4 ,these men were called astrologers1 and they drew plans1 known as horoscopes1 mapping out the future destiny of persons as revealed by the position of the constellations4 ,there were other men who examined the various substances of which the earth is composed1 putting them together to make new things4 ,these were alchemists1 and their great ambition was to find some preparation which would change baser metals into gold4 ,this hoped-for preparation was spoken of as the philosopher's stone4 ,now modern learning has changed these vague experiments into exact science2 astronomy has replaced astrology1 and chemistry has taken the place of alchemy4 ,nevertheless these changes were brought about only very gradually1 and in the #agth century1 when ,rembrandt lived and painted this picture1 a great stir was made by the new ideas of astronomy taught by ,galileo in ,italy1 and the new discoveries in chemistry made by ,van ,helmont in ,belgium4 ,many philosophers still held to the old beliefs of astrology and alchemy4 ,it is not likely that ,rembrandt had any one philosopher in mind as the subject of his picture4 ,that his philosopher is something of a scholar1 we judge from the table at which he sits1 littered with writing materials4 ,yet he seems to care less for reading than for thinking1 as he sits with hands clasped in his lap and his head sunk upon his breast4 ,he wears a loose1 flowing garment like a dressing-gown1 and his bald head is protected by a small skull cap4 ,his is an ideal place for a philosopher's musings4 ,the walls are so thick that they shut out all the confusing noise of the world4 ,a single window lets in light enough to read by through its many tiny panes4 ,it is a bare little room1 to be sure1 with its ungarnished walls and stone-paved floor1 but if a philosopher has the ordinary needs of life supplied he wants no luxuries4 ,he asks for nothing more than quiet and uninterrupted leisure in which to pursue his meditations4 ,illustration3 ,,the ,,philosopher ,,in ,,meditation ,the ,louvre1 ,paris ,our philosopher is well taken care of2 for while his thoughts are on higher things and eternal truths1 an old woman is busy at the fire in the corner4 ,evidently she looks after the material and temporal things of life4 ,she kneels on the hearth and hangs a kettle over the cheerful blaze4 ,the firelight glows on her face and gleams here and there on the brasses hanging in the chimney-piece above4 ,here is promise of something good to come1 and when the philosopher is roused from his musings there will be a hot supper ready for him4 ,there are two mysteries in the room which arouse our curiosity4 ,in the wall behind the philosopher's chair is a low1 arched door heavily built with large hinges4 ,does this lead to some subterranean cavern1 and what secret does it contain8 ,is it a laboratory where1 with alembic and crucible1 the philosopher searches the secrets of alchemy and tries to find the philosopher's stone8 ,is some hid treasure stored up there1 as precious and as hard to reach as the hidden truths the philosopher tries to discover8 ,at the right side of the room a broad1 winding staircase rises in large spirals and disappears in the gloom above4 ,we follow it with wondering eyes which try to pierce the darkness and see whither it leads4 ,perhaps there is an upper chamber with windows open to the sky whence the philosopher studies the stars4 ,this place with its winding staircase would be just such an observatory as an astrologer would like4 ,indeed it suggests at once the tower on the hillside near ,florence where ,galileo passed his declining years4 ,our philosopher1 too1 is an old man2 his hair has been whitened by many winters1 his face traced over with many lines of thought4 ,even if his problems have not all been solved he has found rich satisfaction in his thinking2 the end of his meditations is peace4 ,the day is drawing to a close4 ,the waning light falls through the window and illumines the philosopher's venerable face4 ,it throws the upper spiral of the stairway into bold relief1 and brings out all the beautiful curves in its structure4 ,the bare little room is transfigured4 ,this is indeed a fit dwelling-place for a philosopher whose thoughts1 penetrating dark mysteries1 are at last lighted by some gleams of the ideal4 ,,vi ,,the ,,good ,,samaritan ,the story of the ,good ,samaritan was related by ,jesus to a certain lawyer as a parable1 that is1 a story to teach a moral lesson4 ,the object was to show what was true neighborly conduct2 and this was the story3--#f ,a certain man went down from ,jerusalem to ,jericho1 and fell among thieves1 which stripped him of his raiment1 and wounded him1 and departed1 leaving him half dead4 ,and by chance there came down a certain priest that way2 and when he saw him1 he passed by on the other side4 ,and likewise a ,levite1 when he was at the place1 came and looked on him1 and passed by on the other side4 ,but a certain ,samaritan1 as he journeyed1 came where he was3 and when he saw him1 he had compassion on him1 and went to him1 and bound up his wounds1 pouring in oil and wine1 and set him on his own beast1 and brought him to an inn1 and took care of him4 ,and on the morrow when he departed1 he took out two pence1 and gave them to the host1 and said unto him1 ',take care of him2 and whatsoever thou spendest more1 when ,i come again ,i will repay thee4' ,footnote #f3 ,st4 ,luke1 chapter x4 verses #cj-cg4 ,the point of the story is very plain1 and when ,jesus asked the lawyer which one of the three passers-by was a neighbor to the wounded man1 he was forced to reply1 ,he that shewed mercy4 ,then said ,jesus simply1 ,go1 and do thou likewise4 ,though the scene of the story is laid in ,palestine1 it is the sort of incident which one can imagine taking place in any country or period of time4 ,so it seems perfectly proper that ,rembrandt1 in representing the subject1 should show us an old ,dutch scene4 ,the etching illustrates that moment when the ,good ,samaritan arrives at the inn1 followed by the wounded traveler mounted on his horse4 ,the building is a quaint piece of architecture with arched doors and windows4 ,that it was built with an eye to possible attacks from thieves and outlaws1 we may see from the small windows and thick walls of masonry1 which make it look like a miniature fortress4 ,this is a lonely spot1 and inns are few and far between4 ,the plaster is cracking and crumbling from the surface1 and the whole appearance of the place does not betoken great thrift on the part of the owners4 ,on the present occasion1 during the working hours of the day1 doors and windows are open after the hospitable manner of an inn4 ,the host stands in the doorway1 greeting the strangers1 and the ,good ,samaritan is explaining the situation to him4 ,in the mean time the inn servants have come forward3 the hostler's boy holds the horse by the bridle1 while a man lifts off the wounded traveler4 ,illustration3 ,,the ,,good ,,samaritan ,museum of ,fine ,arts1 ,boston ,about the dooryard are the usual signs of life4 ,in the rear a woman draws water from a well1 lowering the bucket from the end of a long well-sweep1 heedless of the stir about the door4 ,fowl scratch about in search of food1 and there is a dog at one side4 ,some one within looks with idle curiosity from the window into the yard4 ,it is little touches like these which give the scene such vividness and reality4 ,there is also a remarkable expressiveness in the figures which tells the story at a glance4 ,you can see just what the ,good ,samaritan is saying1 as he gestures with his left hand1 and you can guess the inn-keeper's reply4 ,already he has put the proffered money into the wallet he carries at his belt1 and listens attentively to the orders given him4 ,he may privately wonder at his guest's singular kindness to a stranger1 but with him business is business1 and his place is to carry out his guest's wishes4 ,you see how the hostler's boy magnifies his office1 swaggering with legs wide apart4 ,even the feather in his cap bristles with importance4 ,this bit of comedy contrasts with the almost tragic expression of the wounded man4 ,the stolid fellow who lifts him seems to hurt him very much1 and he clasps his hands in an agony of pain4 ,he seems to be telling the gentleman at the window of his recent misfortune4 ,to study the picture more critically1 it will be interesting to notice how the important figures are massed together in the centre1 and how the composition is built into a pyramid4 ,draw a line from the inn-keeper's head down the stairway at the left1 and follow the outline of the ,good ,samaritan's right shoulder along the body of the wounded traveler1 and you have the figure4 ,this pyramidal form is emphasized again by the wainscot of the stairway at the left1 and the well-sweep at the right4 ,to appreciate fully the character of the etching1 one must examine attentively all the different kinds of lines which produce the varying effects of light and shadow4 ,below the picture ,rembrandt wrote his name and the date #afcc1 with two ,latin words meaning that he designed and etched the plate himself4 ,this would seem to show that he was well pleased with his work1 and it is interesting to learn that the great ,german poet1 ,goethe1 admired the composition extravagantly4 ,,vii ,,the ,,presentation ,,in ,,the ,,temple ,the story which the picture of the ,presentation illustrates is a story of the infancy of ,jesus ,christ4 ,according to the custom of the ,jews at that time1 every male child was presented1 or dedicated1 to the ,lord when about a month old4 ,jesus was born in ,bethlehem of ,judaea1 a small town about four miles from the city of ,jerusalem1 the ,jewish capital1 where the temple was4 ,when he was about a month old1 his mother ,mary and her husband ,joseph1 who were devout ,jews1 brought him to the great city for the ceremony of the presentation in the temple4 ,now the temple was a great place of worship where many religious ceremonies were taking place all the time4 ,ordinarily1 a party coming up from the country for some religious observance would not attract any special attention among the worshippers4 ,but on the day when the infant ,jesus was presented in the temple1 a very strange thing occurred4 ,the evangelist ,st4 ,luke#g relates the circumstances4 ,footnote #g3 ,st4 ,luke1 chapter ii4 verses #be-ce4 ,and behold1 there was a man in ,jerusalem whose name was ,simeon2 and the same man was just and devout1 waiting for the consolation of ,israel3 and the ,holy ,ghost was upon him4 ,and it was revealed unto him by the ,holy ,ghost that he should not see death1 before he had seen the ,lord's ,christ4 ,and he came by the ,spirit into the temple3 and when the parents brought in the child ,jesus1 to do for him after the custom of the law1 then took he him up in his arms1 and blessed ,god1 and said1 ,lord1 now lettest thou thy servant depart in peace1 according to thy word3 for mine eyes have seen thy salvation which thou hast prepared before the face of all people1 a light to lighten the ,gentiles and the glory of thy people ,israel4 ,and ,joseph and his mother marveled at those things which were spoken of him4 ,and ,simeon blessed them1 and said unto ,mary his mother1 ,behold this child is set for the fall and rising again of many in ,israel2 and for a sign which shall be spoken against2 that the thought of many hearts may be revealed4 ,illustration3 ,,the ,,presentation ,,in ,,the ,,temple ,the ,hague ,gallery ,in the picture we find ourselves1 as it were1 among the worshippers in the temple1 looking at the group on the pavement in front of us--,mary and ,joseph and ,simeon1 kneeling before a priest1 with two or three onlookers4 ,it is a ,gothic cathedral1 in whose dim recesses many people move hither and thither4 ,at the right is a long flight of steps leading to a throne1 which is overshadowed by a huge canopy4 ,at the top of the steps we see the high priest seated with hands outstretched1 receiving the people who throng up the stairway4 ,it was towards this stairway that ,mary and ,joseph were making their way1 when the aged ,simeon first saw them1 and recognized in the child they carried the one he had long expected4 ,taking the babe from his mother's arms1 he kneels on the marble-tiled pavement and raises his face to heaven in thanksgiving4 ,his embroidered cymar1 or robe1 falls about him in rich folds as he clasps his arms about the tiny swaddled figure4 ,mary has dropped on her knees beside him1 listening to his words with happy wonder4 ,joseph1 just beyond1 looks on with an expression of inquiry4 ,he carries two turtle doves as the thank offering required of the mother by the religious law4 ,his unkempt appearance and bare feet contrast with the neat dress of ,mary4 ,the tall priest standing before them extends his hands towards the group in a gesture of benediction4 ,a broad ray of light gleams on his strange headdress1 lights up his outstretched hand1 and falls with dazzling brilliancy upon the soft round face of the babe1 the smiling mother1 and the venerable ,simeon with flowing white hair and beard4 ,there are but few people to pay any heed to the strange incident4 ,two or three of those who climb the stairway turn about and stare curiously at the group below4 ,there are three others still more interested4 ,one man behind puts his turbaned head over ,simeon's shoulders1 peering inquisitively at the child1 as if trying to see what the old man finds so remarkable in him4 ,beyond1 two old beggars approach with a sort of good-natured interest4 ,they are quaintly dressed1 one of them wearing a very tall cap4 ,such humble folk as these alone seem to have time to notice others' affairs4 ,it must not be supposed that this scene very closely represents the actual event it illustrates4 ,the painter ,rembrandt knew nothing about the architecture of the old ,jewish temple destroyed many centuries before4 ,a ,gothic cathedral was the finest house of worship known to him1 so he thought out the scene as it would look in such surroundings4 ,the people coming and going were such as he saw about him daily2 the beggars looking at the ,christ-child were the beggars of ,amsterdam1 and the men seated in the wooden settle at the right were like the respectable ,dutch burghers of his acquaintance4 ,it was like translating the story from ,aramaic to ,dutch1 but in the process nothing is lost of its original touching beauty4 ,in studying the picture1 you must notice how carefully all the figures are painted1 even the very small ones in the darkest parts of the composition4 ,the beautiful contrast1 between the light on the central group and the soft dimness of the remoter parts of the cathedral1 illustrates a style of work for which ,rembrandt was very famous1 and which we shall often see in his pictures4 ,,viii ,,christ ,,preaching ,we read in the evangelists' record of the life of ,jesus that he went about the country preaching the gospel 7or the good news7 of the kingdom of ,heaven4 ,sometimes he preached in the synagogue on the ,sabbath day2 but more often he talked to the people in the open air1 sometimes on the mountain-side1 sometimes on the shore of the lake ,gennesaret1 or again in the streets of their towns4 ,the scribes and ,pharisees were jealous of his popularity1 and angry because he exposed their hypocrisy4 ,the proud and rich found many of his sayings too hard to accept4 ,so it was the poor and unhappy who were most eager to hear him1 and they often formed a large part of his audience4 ,jesus himself rejoiced in this class of followers1 and when ,john the ,baptist's messengers came to him to inquire into his mission1 he sent back the message1 ,the poor have the gospel preached to them4 ,in this picture of ,christ ,preaching1 we see that his hearers are of just the kind that the preacher's message is intended for1--the weary and heavy-laden whom he called to himself4 ,there are a few dignitaries in the gathering1 it is true1 standing pompously by in the hope of finding something to criticise4 ,but ,jesus pays no attention to them as he looks down into the faces of the listeners who most need his words4 ,his pulpit is a square coping-stone in a courtyard1 and the people gather about him in a circle in the positions most convenient to them4 ,there is no formality here1 no ceremony2 each one may come and go as he pleases4 ,here is a mother sitting on the ground directly in front of the speaker1 holding a babe in her arms1 while a little fellow sprawls out on the ground beside her1 drawing on the sand with his finger4 ,though we cannot see her face1 we know that she is an absorbed listener1 and ,jesus seems to speak directly to her4 ,a pathetic-looking man beyond her is trying to take in the message in a wondering way1 and a long-bearded man behind him is so aroused that he leans eagerly forward to catch every word4 ,there are others1 as is always the case1 who listen very stolidly as if quite indifferent4 ,again there are two who ponder the subject thoughtfully4 ,one of these is in the rear1--a young man1 perhaps one of ,jesus' disciples2 the other sits in front1 crossing his legs1 and supporting his chin with his hand4 ,in the group at the right of ,jesus we can easily pick out the scoffers and critics1 listening intently1 some of them more interested1 perhaps1 than they had expected to be4 ,illustration3 ,,christ ,,preaching ,museum of ,fine ,arts1 ,boston ,as we look at ,jesus himself1 so gentle and tender1 raising both hands as if to bless the company1 we feel sure that he is speaking some message of comfort4 ,one day when he was reading the ,scriptures in the synagogue at ,capernaum1 he selected a passage which described his own work1 and which perfectly applies to this picture4 ,we can imagine that he is saying3 ,the spirit of the ,lord ,god is upon me2 because the ,lord hath anointed me to preach good tidings unto the meek2 he hath sent me to bind up the brokenhearted1 to proclaim liberty to the captives1 and the opening of the prison to them that are bound2 to proclaim the acceptable year of the ,lord1 and the day of vengeance of our ,god2 to comfort all that mourn2 to appoint unto them that mourn in ,zion1 to give unto them beauty for ashes1 the oil of joy for mourning1 the garment of praise for the spirit of heaviness4 ,it is a noticeable fact that the figures in this picture of ,christ preaching are ,dutch types4 ,if you think that this is a strange way to illustrate scenes which took place in ,palestine many centuries ago1 you must remember that the picture was drawn by a ,dutchman who knew nothing of ,palestine1 and indeed little of any country outside his own ,holland4 ,he wished to make the life of ,christ seem real and vivid to his own countrymen2 and the only way he could do this was to represent the scenes in the surroundings most familiar to himself and to them4 ,the artist was simply trying to imagine what ,jesus would do if he had come to ,amsterdam in the seventeenth century1 instead of to ,jerusalem in the first century2 somewhat as certain modern writers have tried to think what would take place ,if ,jesus came to ,chicago1 or ,if ,jesus came to ,boston1 in the nineteenth century4 ,the sweet gentleness in the face of ,christ and the eager attention of the people show how well ,rembrandt understood the real meaning of the ,new ,testament4 ,this picture is worthy of very special study because it is reckoned by critics one of the best of ,rembrandt's etchings4 ,one enthusiastic writer#h says that the full maturity of his genius is expressed in every feature4 ,one must know a great deal about the technical processes of etching to appreciate fully all these excellencies2 but even an inexperienced eye can see how few and simple are the lines which produce such striking effects of light and shadow3 a scratch or two here1 a few parallel lines drawn diagonally there2 some coarse cross-hatching in one place1 closer hatching in another2 now and then a spot of the black ink itself1--and the whole scene is made alive1 with ,jesus standing in the midst1 the light gleaming full upon his figure4 ,footnote #h3 ,michel4 ,,ix ,,christ ,,at ,,emmaus ,the picture of ,christ at ,emmaus illustrates an event in the narrative of ,christ's life which took place on the evening of the first ,easter ,sunday4 ,it was now three days since the ,crucifixion of ,christ just outside ,jerusalem1 and the terrible scene was still very fresh in the minds of his disciples4 ,it happened that late in the day two of them were going to a village called ,emmaus1 not very far from ,jerusalem4 ,they made the journey on foot1 and as they walked along the way1 they talked together1 says the evangelist#i who tells the story1 of all those things which had happened4 ,and it came to pass1 that1 while they communed together and reasoned1 ,jesus himself drew near1 and went with them4 ,but their eyes were holden that they should not know him4 ,and he said unto them1 ',what manner of communications are these that ye have one to another1 as ye walk1 and are sad8' ,and the one of them1 whose name was ,cleopas1 answering said unto him1 ',art thou only a stranger in ,jerusalem1 and hast not known the things which are come to pass there in these days8' ,and he said unto them1 ',what things8' ,and they said unto him1 ',concerning ,jesus of ,nazareth4' ,then followed a conversation in which they told the stranger something of ,jesus1 and he in turn explained to them many things about the life and character of ,jesus which they had never understood4 ,footnote #i3 ,st4 ,luke1 chapter xxiv4 verses #ac-cb4 ,and they drew nigh unto the village1 whither they went3 and he made as though he would have gone further4 ,but they constrained him1 saying1 ',abide with us3 for it is toward evening1 and the day is far spent4' ,and he went in to tarry with them4 ,and it came to pass1 as he sat at meat with them1 he took bread1 and blessed it1 and brake1 and gave to them4 ,and their eyes were opened and they knew him2 and he vanished out of their sight4 ,and they said one to another1 ',did not our hearts burn within us1 while he talked with us by the way8' ,the picture suggests vividly to us that wonderful moment at ,emmaus when the eyes of the disciples were opened1 and they recognized their guest as ,jesus1 whom they had so recently seen crucified4 ,the table is laid in a great bare room with the commonest furnishings1 and the disciples appear to be laboring men1 accustomed to plain living and high thinking4 ,they are coarsely dressed1 and their feet are bare1 as are also the feet of ,jesus4 ,one seems to have grasped the situation more quickly than the other1 for he folds his hands together1 reverently gazing directly into the face of ,jesus4 ,his companion1 an older man1 at the other end of the table1 looks up astonished and mystified4 ,the boy who is bringing food to the table is busy with his task1 and does not notice any change in ,jesus4 ,illustration3 ,,christ ,,at ,,emmaus ,the ,louvre1 ,paris ,in the midst is ,christ1 pale1 emaciated1 sitting facing us1 breaking the bread as on the evening of the ,last ,supper1 in his pilgrim robe1 with his blackened lips1 on which the torture has left its traces1 his great brown eyes soft1 widely opened1 and raised towards heaven1 with his cold nimbus1 a sort of phosphorescence around him which envelops him in an indefinable glory1 and that inexplicable look of a breathing human being who certainly has passed through death4 ,this description is by a celebrated ,french critic1#aj himself a painter1 who knows whereof he speaks4 ,he says that this picture alone is enough to establish the reputation of a man4 ,footnote #aj3 ,fromentin1 in ,old ,masters of ,belgium and ,holland4 ,there is one artistic quality in the picture to which we must pay careful attention1 as it is particularly characteristic of ,rembrandt4 ,this is the way in which the light and shadow are arranged1 or what a critic would call the chiaroscuro of the picture4 ,the heart of the composition glows with a golden light which comes from some unseen source4 ,it falls on the white tablecloth with a dazzling brilliancy as if from some bright lamp4 ,it gleams on the faces of the company1 bringing out their expressions clearly4 ,the arched recess behind the table is thrown into heavy shadow1 against which the centrally lighted group is sharply contrasted4 ,this singular manner of bringing light and darkness into striking opposition makes the objects in a picture stand out very vividly4 ,some one has defined chiaroscuro as the art of rendering the atmosphere visible and of painting an object enveloped in air4 ,the art was carried to perfection by ,rembrandt4 ,you will notice it more or less in every picture of this collection1 but nowhere is it more appropriate than here1 where the appearance of ,christ1 as the source of light1 emphasizes the mystery of the event and makes something sacred of this common scene4 ,as we compare this picture with the etching of ,christ ,preaching1 we get a better idea of ,rembrandt's aim in representing ,christ4 ,he did not try to make his face beautiful with regular classical features1 after the manner of the old ,italian painters4 ,he did not even think it necessary to make his figure grand and imposing4 ,something still better ,rembrandt sought to put into his picture1 and this was a gentle expression of love4 ,x ,,portrait ,,of ,,saskia ,we should have but a very imperfect idea of ,rembrandt's work if we did not learn something about the portraits he painted4 ,it was for these that he was most esteemed in his own day1 being the fashionable portrait painter of ,amsterdam at a time when every person of means wished to have his likeness painted4 ,a collection of his works of this kind would almost bring back again the citizens of ,amsterdam in the seventeenth century1 so life-like are these wonderful canvases4 ,among them we should find the various members of his family1 his father and mother1 his sister1 his servant1 his son1 and most interesting of all1 his beloved wife1 ,saskia4 ,saskia was born in ,friesland1 one of nine children of a wealthy patrician family4 ,her father1 ,rombertus van ,uylenborch1 was a distinguished lawyer1 who had had several important political missions intrusted to him4 ,at one time he was sent as a messenger to ,william of ,orange1 and was sitting at table with that prince just before his assassination4 ,he died in #afbd1 leaving ,saskia an orphan1 as she had lost her mother five years before4 ,the little girl of twelve now began to live in turn with her married sisters4 ,at the age of twenty she came to ,amsterdam to live for a while with her cousin1 the wife of a minister1 ,jan ,cornelis ,sylvius1 whose face we know from one of ,rembrandt's etchings4 ,saskia had also another cousin living in ,amsterdam1 ,hendrick van ,uylenborch1 a man of artistic tastes1 who had not succeeded as a painter1 and had become a dealer in bric-a-brac and engravings4 ,he was an old friend of ,rembrandt2 and when the young painter came to seek his fortune in the great city in #afca1 he had made his home for a while with the art dealer4 ,it was doubtless ,hendrick who introduced ,rembrandt to ,saskia4 ,probably the beginning of their acquaintance was through ,rembrandt's painting ,saskia's portrait in #afcb4 ,the relation between them soon grew quite friendly1 for in the same year the young girl sat two or three times again to the painter4 ,the friendship presently ended in courtship1 and when ,rembrandt pressed his suit the marriage seemed a very proper one4 ,saskia was of a fine family and had a sufficient dowry4 ,rembrandt1 though the son of a miller1 was already a famous painter1 much sought after for portraits1 and with a promising career before him4 ,the engagement was therefore approved by her guardians1 but marriage being deferred till she came of age1 the courtship lasted two happy years4 ,during this time ,rembrandt painted his lady love over and over again4 ,it was one of his artistic methods to paint the same person many times4 ,he was not one of the superficial painters who turn constantly from one model to another in search of new effects4 ,he liked to make an exhaustive study of a single face in many moods1 with many expressions and varied by different costumes4 ,illustration3 ,,portrait ,,of ,,saskia ,cassel ,gallery ,saskia had small eyes and a round nose1 and was not at all beautiful according to classical standards4 ,rembrandt1 however1 cared less for beauty than for expression1 and ,saskia's face was very expressive1 at times merry and almost roguish1 and again quite serious4 ,she had also a brilliant complexion and an abundance of silky hair1 waving from her forehead4 ,the painter had collected in his studio many pretty and fantastic things to use in his pictures1--velvets and gold embroidered cloaks1 ,oriental stuffs1 laces1 necklaces1 and jewels4 ,with these he loved to deck ,saskia1 heightening her girlish charms with the play of light upon these adornments4 ,one of the most famous of the many portraits of ,saskia at this time is the picture we have here4 ,because it is not signed and dated1 after ,rembrandt's usual custom1 it is thought that it was intended as a gift for ,saskia herself1 and thus it has a romantic interest for us4 ,also it is painted with extreme care1 as the work of a lover offering the choicest fruit of his art4 ,the artist has arranged a picturesque costume for his sitter1--a broad-brimmed hat of red velvet with a sweeping white feather1 an elaborate dress with embroidered yoke and full sleeves1 a rich mantle draped over one shoulder1 necklace1 earrings1 and bracelets of pearls4 ,her expression is more serious here than usual1 though very happy1 as if she was thinking of her lover2 and in her hand she carries a sprig of rosemary1 which in ,holland is the symbol of betrothal1 holding it near her heart4 ,the marriage finally took place in ,june1 #afcd1 in the town of ,bildt4 ,the bridal pair then returned to ,amsterdam to a happy home life4 ,rembrandt had no greater pleasure than in the quiet family circle1 and ,saskia had a simple loving nature1 entirely devoted to her husband's happiness4 ,a few years later ,rembrandt moved into a fine house in the ,breestraat1 which he furnished richly with choice paintings and works of art4 ,a succession of portraits shows that the painter continued to paint his wife with loving pride4 ,he represented her as a ,jewish bride1 as ,flora1 as an ,odalisque1 a ,judith1 a ,susanna1 and a ,bathsheba4 ,there is one painting of the husband and wife together1 ,saskia perched like a child on ,rembrandt's knee1 as he flourishes a wine-glass in the air4 ,in another picture 7an etching7 they sit together at a table about the evening lamp1 the wife with her needle-work1 the artist with his engraving4 ,the love between them is the brightest spot in ,rembrandt's history1 clouded as it was with many disappointments and troubles4 ,as a celebrated writer has expressed it1 ,saskia was a ray of sunshine in the perpetual chiaroscuro of his life4 ,,xi ,,the ,,sortie ,,of ,,the ,,civic ,,guard1 ,,or ,,the ,,night ,,watch ,the patriotism of the ,dutch is seen through the entire history of brave little ,holland4 ,early in the sixteenth century every town of considerable size had a military company composed of the most prominent citizens4 ,each company1 or guild1 had a place of assembly1 or doelen1 and a drilling-ground4 ,the officers were chosen for a year1 and the highest appointments were those of captain1 lieutenant1 and ensign4 ,upon these civic guards rested the responsibility of maintaining the order and safety of the town4 ,sterner duties than these were theirs when in the late sixteenth century 7#aegc71 at the call of ,william of ,orange1 the various guilds formed themselves into volunteer companies to resist the ,spanish4 ,how well they acquitted themselves is a matter of history1 and ,spain recognized the republic in the treaty of #afji4 ,after the war1 many of the corporations were reorganized and continued to be of great importance in the seventeenth century4 ,the picture we have here represents the ,civic ,guard of ,amsterdam during the captaincy of ,frans ,banning ,cocq in #afdb4 ,cocq was a man of wealth and influence who had purchased the estate of ,purmerland in #afah and had also been granted a patent of nobility4 ,so it was natural that ,lord ,purmerland1 one of the most distinguished citizens of the town1 should be called to a term of office as captain of the ,civic ,guard4 ,his magnificent stature and manly bearing show him well fitted for the honor4 ,the picture represents an occasion when the guard issues from the assembly hall1 or doelen1 in a sudden call to action4 ,captain ,cocq leads the way with ,lieutenant ,willem van ,ruytenberg1 of ,vlaerdingen1 and as he advances gives orders to his fellow officer4 ,the drum beats1 the ensign unfurls the standard1 every man carries a weapon of some sort4 ,one is priming a musket1 another loading his gun1 another firing4 ,a mass of lance-bearers press on from the rear4 ,in the confusion a dog scampers into the midst and barks furiously at the drum4 ,a little girl slips into the crowd on the other side1 oddly out of place in such company1 but quite fearless4 ,it has been suggested that she may have been the bearer of the tidings which calls the guard forth4 ,the quaint figure is clad in a long dress of some shimmering stuff1 and she has the air of a small princess4 ,from her belt hangs a cock1 and she turns her face admiringly towards the great captain4 ,illustration3 ,,sortie ,,of ,,the ,,civic ,,guard ,ryks ,museum1 ,amsterdam ,we do not know of any historical incident which precisely corresponds to the action in the picture4 ,indeed1 it is not strictly speaking an historical picture at all1 but rather a portrait group of the ,civic ,guard1 in attitudes appropriate to their character as a military body4 ,they may be going out for target practice or for a shooting match such as was held annually as a trial of skill2 it may be a parade1 or it may be1 as some have fancied1 a call to arms against a sudden attack from the enemy4 ,in any case the noticeable thing is the readiness with which all respond to the call--the spirit of patriotism which animates the body4 ,the ,dutch are not naturally warlike1 but rather a peace-loving people2 lacking the quick impulsiveness of a more nervous race1 they are of a somewhat heavy and deliberate temper2 yet they have the solid worth which can be counted on in an emergency1 and in love of country they are united to a man4 ,benjamin ,franklin once said of ,holland1 ,in love of liberty1 and bravery in the defense of it1 she has been our great example4 ,the picture cannot be fully understood without some knowledge of its history4 ,painted for the hall of the ,amsterdam ,musketeers1 it was to take its place among others by contemporary painters1 as a portrait group in honor of the officers of the year1 and as a lasting memorial of their services4 ,the other pictures had been stiff groups about a table1 and the novelty of ,rembrandt's composition displeased some of the members of the guild4 ,each person who figures in the scene had subscribed a certain sum towards the cost of the picture for his own portrait1 and was anxious to get his money's worth4 ,consequently1 there were many who did not at all relish their insignificance in the background1 quite overshadowed by the glory of the captain and lieutenant4 ,they thought they would have shown to much better advantage arranged in rows4 ,it was ,rembrandt's way when painting a portrait to give life and reality to the figure1 by showing the leading element in the character or occupation of the person4 ,thus his shipbuilder is designing a ship1 the writing master1 ,coppenol1 is mending a pen1 the architect has his drawing utensils1 and the preacher his ,bible4 ,so in the ,civic ,guard each man carries a weapon1 and the figures are united in spirited action4 ,all this artistic motive was lost upon those for whom the picture was painted1 because of their petty vanity4 ,so the great painting1 now so highly esteemed1 was not a success at the time4 ,in the following century it was removed to the town hall2 and in order to fit it into a particular place on the wall1 a strip was cut off each side the canvas4 ,it is the loss of these margins which gives the composition the crowded appearance which so long seemed a strange fault in a great artist like ,rembrandt4 ,the original colors of the painting grew so dark with the accumulation of smoke in the hall that the critics supposed the scene occurred at night1 hence the incorrect name of the ,night ,watch was given to it4 ,since the picture was cleaned1 in #ahhi1 it is apparent that the incident occurred in the daytime1 and if you look carefully you can plainly see the shadow of ,captain ,cocq's hand on the lieutenant's tunic4 ,,xii ,,portrait ,,of ,,jan ,,six ,when the painter ,rembrandt came to ,amsterdam in #afca1 a young man seeking his fortune in the great city1 a lad of twelve years was living in his father's country seat1 near by1 who was later to become one of his warm friends4 ,this was ,jan ,six1 the subject of the portrait etching reproduced here4 ,there was a great contrast in the circumstances of life in which the two friends grew up4 ,rembrandt was the son of a miller1 and had his own way to make in the world4 ,jan ,six was surrounded from his earliest years with everything which tended to the gratification of his natural taste for culture4 ,rembrandt's rare talent1 however1 overbalanced any lack of early advantages1 and made him a friend worth having4 ,six had come of ,huguenot ancestry4 ,his grandfather had fled to ,holland during the ,huguenot persecution in ,france1 and had become a resident in ,amsterdam in #aehe4 ,jan's father1 another ,jan1 had married a ,dutch lady of good family1 whose maiden name was ,anna ,wijmer4 ,it was in the service of this good lady that we first hear of ,rembrandt's connection with the ,six family4 ,he was called to paint her portrait in #afda1 and must have then1 if not before1 made the acquaintance of her young son1 ,jan4 ,jan united to a great love of learning a love of everything beautiful1 and was an ardent collector of objects of art4 ,paintings of the old ,italian and early ,dutch schools1 rare prints and curios of various kinds1 were his delight4 ,he found in ,rembrandt a man after his own heart4 ,already the painter had gone far beyond his means in filling his own house with costly works of art4 ,so the two men1 having a hobby in common1 found a strong bond of union in their congenial tastes4 ,we may be sure that they were often together1 to show their new purchases and discuss their beauty4 ,rembrandt1 as an older and more experienced collector1 would doubtless have good advice to offer his younger friend1 and1 an artist himself1 would know how to judge correctly a work of art4 ,one record of their friendship in these years is a little etched landscape which ,rembrandt made in #afda1 showing a bridge near the country estate of the ,six family1 a place called ,elsbroek1 near the village of ,hillegom4 ,illustration3 ,,portrait ,,of ,,jan ,,six ,museum of ,fine ,arts1 ,boston ,it was in #afdg that ,rembrandt made this portrait of his friend1 then twenty-nine years of age4 ,six had now begun to make a name for himself in the world of letters as a scholar and poet4 ,he had already published a poem on ,muiderberg 7a village near ,amsterdam71 and by this time1 doubtless1 had under way his great literary work1 the tragedy of ,medaea4 ,many were the times when ,rembrandt1 coming to his house to talk over some new treasure-trove1 found him in his library with his head buried in a book1 and his thoughts far away4 ,it was in such a moment that he must have had the idea of this beautiful portrait4 ,he catches his friend one day in the corner of his library1 standing with his back to the window to get the light on the book he is reading4 ,he transfers the picture to a copper plate and hands it down to future generations4 ,the slender figure of the young man is clad in the picturesque dress of a gentleman of his time1 with knee-breeches and low shoes1 with wide white collar and cuffs4 ,his abundant wavy blond hair falls to his shoulders2 he has the air of a true poet4 ,in his eagerness to read1 he has flung his cavalier's cloak on the window seat behind him1 a part of it dropping upon a chair beyond4 ,its voluminous folds make a cushion for him1 as he leans gracefully against the window ledge4 ,his sword and belt lie on the chair with the cloak4 ,for the moment the pen is mightier than the sword4 ,the furnishings of the room show the owner's tastes2 a pile of folio volumes fill a low chair1 an antique picture hangs on the wall4 ,the young man's face is seen by the light reflected from the pages of his open book4 ,it is a refined1 sensitive face1 of high intellectual cast1 amiable withal1 and full of imagination4 ,he is completely absorbed in his reading1 a smile playing about his mouth4 ,how little of a fop and how much of a poet he is1 we see from his disordered collar4 ,breathing quickly as he bends over his book1 in his excitement he cannot endure the restraint of a close collar4 ,he has unloosed it1 as1 quite oblivious of any untidiness in his appearance1 he hurries on1 ruthlessly crushing the pages of the folio back1 as he grasps it in his hand4 ,the friendship between ,six and ,rembrandt seemed to grow apace2 for when the tragedy of ,medaea was published1 in #afdh1 it was illustrated by a magnificent etching by ,rembrandt1 representing the ,marriage of ,jason and ,creusa4 ,the literary work of ,jan ,six led the way to various public honors4 ,in #afef he became commissioner of marriages2 in #affg1 a member of the ,council of the ,states ,general of ,holland1 and in #afia1 burgomaster of ,amsterdam4 ,his continued friendship for ,rembrandt was shown in his purchasing a number of the latter's paintings4 ,rembrandt at length painted a magnificent portrait of his friend in his old age1 which1 with the portrait of his mother and the original plate for this etching1 still remains in the ,six family in ,amsterdam4 ,referring to the portrait of ,jan ,six1 the famous ,dutch poet1 ,vondel1 contemporary of ,rembrandt and ,six1 paid a fitting tribute to the great burgomaster1 as a lover of science1 art1 and virtue4 ,,xii ,,portrait ,,of ,,an ,,old ,,woman ,the story is told of a little child who1 upon being introduced to a kind-faced lady1 looked up brightly into her eyes with the question1 ,whose mother are you8 ,when we look into the wrinkled old face of this picture1 the same sort of a question springs to mind1 and we involuntarily ask1 ,whose grandmother are you8 ,we are sure that children and grandchildren have leaned upon that capacious lap4 ,the name of the subject is not known1 though the same face appears many times in ,rembrandt's works4 ,but there are many people whose names we can quote1 of whom we know much less than of this old woman4 ,the story of her life is written in the picture4 ,those clasped hands1 large and knotted1 have done much hard work4 ,they have ministered to the needs of two generations4 ,they have dandled the baby on her knee1 and supported the little toddler taking his first steps4 ,they have tended the child and wrought for the youth4 ,they have built the fire on the hearth and swept out the house2 they have kneaded the bread and filled the kettle2 they have spun and woven1 and sewed and mended4 ,they have not even shrunk from the coarser labors of dooryard and field1 the care of the cattle1 the planting and harvesting4 ,but labor has done nothing to coarsen the innate refinement of the soul which looks out of the fine old face4 ,she is resting now4 ,the children and grandchildren have grown up to take care of themselves and their grandmother also4 ,she has time to sit down in the twilight of life1 just as she used to sit down at the close of each day's work1 to think over what has happened4 ,she has a large comfortable chair1 and she is neatly dressed1 as befits an old woman whose life work is done4 ,a white kerchief is folded across her bosom1 a shawl is wrapped about her shoulders1 and a hood droops over her forehead4 ,her thoughts are far away from her present surroundings2 something sad occupies them4 ,she dreams of the past and perhaps also of the future4 ,sorrow as well as work has had a large share in her life1 but she has borne it all with patient resignation4 ,she is not one to complain1 and does not mean to trouble others with her sadness4 ,but left all alone with her musings1 a look of yearning comes into her eyes as for something beautiful and much loved1 lost long ago4 ,some painters have been at great pains to fashion a countenance sorrowful enough and patient enough to represent the subject of the ,mater ,dolorosa1 that is1 the ,sorrowing ,mother of ,christ4 ,perhaps they would have succeeded better if they had turned away from their own imaginations to some mother in real life1 who has loved and worked and suffered like this one4 ,the face answers in part our first question4 ,a woman like this is capable of mothering great sons4 ,industrious1 patient1 self-sacrificing1 she would spare herself nothing to train them faithfully4 ,and the life of which her face speaks--a life of self-denying toil1 ennobled by high ideals of duty--is the stuff of which heroes are made4 ,some of the great men of history had such mothers4 ,illustration3 ,,portrait ,,of ,,an ,,old ,,woman ,hermitage ,gallery1 ,st4 ,petersburg ,the picture illustrates the fact that a face may be interesting and even artistic1 if not beautiful4 ,this idea may surprise many1 for when one calls a person as pretty as a picture1 it seems to be understood that it is only pretty people who make suitable models for pictures4 ,rembrandt1 however1 was of quite another mind4 ,he was a student of character as well as a painter1 and he cared to paint faces more for their expression than for beauty of feature4 ,now the expression of a face is to a great extent the index of character4 ,we say that the child has no character in his face1 meaning that his skin is still fair and smooth1 before his thoughts and feelings have made any record there4 ,gradually the character impresses itself on his face4 ,experience acts almost like a sculptor's chisel1 carving lines of care and grooving furrows of sorrow1 shaping the mouth and the setting of the eyes4 ,the longer this process continues1 the more expressive the face becomes1 so that it is the old whose faces tell the most interesting stories of life4 ,rembrandt understood this perfectly1 and none ever succeeded better than he in revealing the poetry and beauty of old age4 ,his way of showing the character in the face of this old woman is very common with him4 ,the high light of the picture is concentrated on the face and is continued down upon the snowy kerchief4 ,this forms a diamond of light shading by gradations into darker tints4 ,it was the skillful use of light and shadow in the picture1 which made a poetic and artistic work of a subject which another painter might have made very commonplace4 ,,xiv ,,the ,,syndics ,,of ,,the ,,cloth ,,guild ,the word syndic is a name applied to an officer of a corporation1 and this is its meaning in the title of the picture1 ,the ,syndics of the ,cloth ,guild4 ,in ,holland1 as in ,england and ,france and elsewhere in ,europe1 guilds were associations of tradesmen or artisans united for purposes of mutual help and for the interests of their respective industries4 ,in some points they were the forerunners of modern trades unions1 except that the members were proprietary merchants and master craftsmen instead of employees1 and their purpose was the advancement of commercial interests in municipal affairs1 instead of the protection of labor against capital4 ,there were guilds of mercers1 wine merchants1 goldsmiths1 painters and many others4 ,now the wool industry was one of the most important in ,holland1 hence the ,guild of ,drapers or ,cloth ,workers was a dignified association in several cities4 ,there was one in ,leyden1 where ,rembrandt was born1 and another in ,amsterdam1 where he passed the most of his life4 ,amsterdam was at that time the foremost commercial city of ,europe4 ,its guilds had fine halls1 ornamented with works of art painted by the best contemporary artists4 ,it was for this purpose that ,rembrandt received from the ,amsterdam ,cloth ,guild the commission to paint a portrait group of their five officers1 and he accordingly delivered to them in #affa the great picture of which we have this little reproduction to examine4 ,just as in the picture of the ,civic ,guard he had given life to the portraits1 by showing the members in some action appropriate to their military character1 so here he represents the officers of the guild in surroundings suggestive of their duties4 ,they are gathered about a table covered with a rich scarlet cloth1 on which rests the great ledger of the corporation4 ,they are engaged in balancing their accounts and preparing a report for the year1 and a servant awaits their order in the rear of the apartment4 ,their task seems a pleasant one1 for whatever difficulties have arisen during their administration1 it is evident that the outcome is successful4 ,they take a quiet satisfaction in the year's record4 ,it is as if in the midst of their consultations1 as they turn the leaves of the ledger1 we suddenly open the door into the room4 ,they are surprised but not disturbed by the intrusion1 and look genially towards the newcomers4 ,the younger man at the end welcomes us with a smile4 ,next to him is one who has been leaning over the book4 ,he raises his head and meets our eyes frankly and cordially4 ,his companion continues his discourse1 gesturing with the right hand4 ,the older men at one side give more attention to the arrival4 ,one seated in the armchair smiles good naturedly2 the other1 rising and leaning on the table1 peers forward with a look of keen inquiry4 ,illustration3 ,,the ,,syndics ,,of ,,the ,,cloth ,,guild ,ryks ,museum1 ,amsterdam ,as we examine the faces one by one1 we could almost write a character study of each man1 so wonderfully does the portrait reveal the inner life--the placid amiability of one1 the quiet humor of another1 the keen1 incisive insight of a third4 ,that they are all men of sound judgment we may well believe1 and they are plainly men to be trusted4 ,the motto of the guild is a key to their character3 ,conform to your vows in all matters clearly within their jurisdiction2 live honestly2 be not influenced in your judgments by favor1 hatred1 or personal interest4 ,these principles are at the foundation of the commercial prosperity for which ,holland is noted4 ,the picture may be taken to illustrate a page in ,american history4 ,it was the ,dutch1 as we all remember1 who founded the ,state of ,new ,york1 and the fifty years of their occupation 7#afad-affd7 fell within the lifetime of ,rembrandt4 ,the fifteen thousand settlers1 who came during this time from ,holland to ,america1 brought with them the manners and customs of their home country4 ,the citizens of ,new ,amsterdam were the counterparts of their contemporaries in the old ,amsterdam4 ,we may see1 then1 in this picture of the ,cloth ,merchants of ,amsterdam just such men as were to be seen among our own colonists4 ,in the broad-brimmed hat and the wide white collar we find the same peculiarities of dress1 and in their honest faces we read the same national traits4 ,it was to men like these that we owe a debt of gratitude for some of the best elements in our national life4 ,in the words of a historian1#aa ,the republican ,dutchmen gave ,new ,york its tolerant and cosmopolitan character1 insured its commercial supremacy1 introduced the common schools1 founded the oldest day school and the first ,protestant church in the ,united ,states1 and were pioneers in most of the ideas and institutions we boast of as distinctly ,american4 ,footnote #aa3 ,w4 ,e4 ,griffis1 in ,brave ,little ,holland1 pp4 #bab-bac4 ,if you fancy that it was quite accidental that the six figures of this picture are so well arranged1 and wonder why the art of ,rembrandt should be so praised here1 you may try an experiment with your camera upon a group of six figures4 ,in posing six persons in any order which is not stiff1 and getting them all to look with one accord and quite naturally towards a single point1 you will understand some of the many difficulties which ,rembrandt overcame so simply4 ,,xv ,,the ,,three ,,trees ,holland1 as is well known1 is a country built upon marshes1 which have been drained and filled in by the patient industry of many generations of workers4 ,the land is consequently very low1 almost perfectly level1 and is covered by a network of canals4 ,it lacks many of the features which make up the natural scenery of other countries1--mountains and ravines1 rocks and rivers1--but it is1 nevertheless1 a very picturesque country4 ,artists love it for the quiet beauty of its landscape4 ,though this is not grand and awe-inspiring1 it is restful and attractive4 ,we may well believe that the artistic nature of ,rembrandt was sensitive to the influences of his native ,dutch scenery4 ,though his great forte in art lay in other directions1 he paused from time to time to paint or etch a landscape4 ,even in this unaccustomed work he proved himself a master4 ,he treated the subject much as he did a portrait1--trying to bring out the character of the scene just as he brought out the character in a face4 ,how much of a story he could tell in a single picture we see in this famous etching called ,the ,three ,trees4 ,one can tell at a glance that this is ,holland4 ,we look across a wide level stretch of land1 and the eye travels on and on into an almost endless distance4 ,far away we see the windmills of a ,dutch town outlined against the sky1--a sign of industry as important in ,holland as are factory chimneys in some other parts of the world4 ,beyond this1 another endless level stretch meets the sky at the horizon line4 ,it is hard to distinguish the land and water1 which seem to lie in alternate strips4 ,the pastures are surrounded by canals as by fences4 ,here and there are cows grazing1 and we are reminded of the fine dairy farms for which ,holland is noted1 the rich butter and cheese1 which are the product of these vast flat lands1 apparently so useless and unproductive4 ,directly in front of us1 at the left1 is a still pool1 and on the farther bank stands a fisherman holding a rod over the water4 ,a woman seated on the bank watches the process with intense interest4 ,there are two other figures near by which can hardly be discerned4 ,illustration3 ,,the ,,three ,,trees ,museum of ,fine ,arts1 ,boston ,the wide outlook of flat country is the setting for the little tree-crowned hill which rises near us at the right4 ,it would seem a very small hillock anywhere else1 but in these level surroundings it has a distinct character4 ,it is the one striking feature which gives expression to the face of the landscape4 ,the eye turns with pleasure to its grassy slopes and leafy trees4 ,the trees have the symmetrical grace so characteristic of ,dutch vegetation4 ,nothing is allowed to grow wild in this country4 ,every growing thing is carefully nurtured and trained4 ,we see that the distances between these trees were carefully spaced in the planting1 so that each one might develop independently and perfectly without injury to the others4 ,the branches grow from their straight trunks at the same height1 and they are plainly of the same age4 ,their outer branches interlace in brotherly companionship to make a solid leafy arbor1 beneath which the wayfarer may find a shady retreat4 ,on the summit of the hill1 outlined against the sky1 is a hay wagon followed by a man with a rake4 ,at a distance1 also clearly seen against the sky1 on the ridge of the hill1 sits a man1 alone and idle4 ,the sky is a wonderful part of the picture4 ,rembrandt1 it appears1 almost never ventured to represent the clouds4 ,he had the true artist's reverence for subjects which were beyond his skill1 and preferred to leave untouched what he could not do well4 ,now in this case1 lacking the experience to draw a sky as finished in workmanship as his landscape1 he suggested in a few lines the effect which he wished to produce4 ,at the left a few diagonal strokes show a smart shower just at hand4 ,a whirl of dark-colored clouds comes next1 and in the upper air beyond1 a stratum of clouds is indicated by a mass of lines crossing and recrossing in long swirling curves4 ,with these few lines ,rembrandt conveys perfectly the idea that a storm is approaching4 ,the clouds seem to be in motion1 scurrying across the sky in advance of the rain4 ,one imaginative critic has thought that he could discern in the cloud-whirl a dim phantom figure as of the spirit of the on-coming storm4 ,like the clouds we often see in nature1 it takes some new fantastic shape every time we look at it4 ,altogether the impression we receive is that of vivid reality4 ,the artist's few lines have produced with perfect success an effect1 which might have been entirely spoiled had he tried to finish it carefully4 ,we look once more at the landscape to see what influence the coming storm has upon it4 ,the fisherman pays no heed4 ,the clouding of the sky only makes the fish bite better1 and absorbed in his sport he cares nothing for weather4 ,the haymaker on the hilltop has a better chance to read the face of the sky1 and starts up his wagon4 ,the three trees seem to feel the impending danger4 ,their leafage is already darkening in the changed light1 and they toss their branches in the wind1 as if to wrestle with the spirit of the storm4 ,,xvi ,,the ,,portrait ,,of ,,rembrandt ,in studying the fifteen pictures of this collection1 we have seen something of the work of the great ,dutch master1 ,rembrandt1 and have learned a little of the man himself1 of his love for the sweet wife1 ,saskia1 of his friendship with the cultured burgomaster1 ,jan ,six1 of his faithful and reverent study of the ,bible1 of his rare insight into people's character4 ,we are ready now to look directly into the artist's own face1 in a portrait by his own hand4 ,there are a great many portraits of ,rembrandt etched and painted by himself4 ,we have noticed how fond he was of painting the same model many times1 in order to make a thorough study of the face1 in varying moods and expressions4 ,now there was one sitter who was always at hand1 and ready to do his bidding4 ,he had only to take a position in front of a mirror1 and there was this model willing to pose in any position and with any expression he desired4 ,so obliging a sitter could nowhere else be found2 and thus it is that there is such a large collection of his self-made portraits4 ,his habit of painting his own portrait gave him an opportunity to study all sorts of costume effects4 ,his patrons were plain1 slow-going ,dutchmen who did not want any fancy effects in their portraits4 ,they wished first of all a faithful likeness in such clothing as they ordinarily wore4 ,it was chiefly in his own portraits that ,rembrandt had the satisfaction of painting the rich and fanciful costumes he loved so well4 ,he wore in turn all sorts of hats and caps1 many jewels and ornaments1 and every variety of mantle1 doublet1 and cuirass4 ,in this he was somewhat like an actor taking the parts of many different characters4 ,sometimes he is an officer with mustaches fiercely twisted1 carrying his head with a dashing military air4 ,again he is a cavalier wearing his velvet mantle1 and plumed hat1 with the languid elegance of a gentleman of leisure4 ,sometimes he seems a mere country boor1 a rough1 unkempt fellow1 with coarse features and a heavy expression4 ,as we see him acting so many roles1 we may well wonder what the character of the man really was4 ,as a matter of fact1 he was full of singular contradictions4 ,in his personal habits he was frugal and temperate to the last degree1 preferring the simplest fare1 and contenting himself with a lunch of herring and cheese when occupied with his work4 ,on the other hand1 his artistic tastes led him into reckless extravagance4 ,he thought no price too great to pay for a choice painting1 or rare print1 upon which he had set his heart4 ,he was generous to a fault1 fond of his friends1 yet living much alone4 ,in the portrait we have chosen for our frontispiece1 we like to believe that we see ,rembrandt1 the man himself4 ,he wears one of his rich studio costumes1 but the face which he turns to ours is quite free from any affectation2 a spirit of sincerity looks out of his kindly eyes4 ,the portrait is signed and dated #afdj1 so that the man is between thirty and thirty-five years of age4 ,this was the happiest period of ,rembrandt's life1 while his wife ,saskia was still living to brighten his home4 ,we see his contentment in his face4 ,he has large mobile features1 which have here settled into an expression of genial repose4 ,he has the dignified bearing of one whose professional success entitles him to a just sense of self-satisfaction1 but he is not posing as a great man4 ,he is still a simple-hearted miller's son1 a man whom we should like to meet in his own family circle1 with his little ones playing about him4 ,he is a man to whom children might run1 sure of a friendly welcome2 he is a man whom strangers might trust1 sure of his sincerity4 ,it is1 in short1 ,rembrandt1 with all the kindliest human qualities uppermost1 which show us1 behind the artist1 the man himself4 99 99 99 99 99 ,,pronouncing ,,vocabulary ,,of ,,proper ,,names ,,and ,,foreign ,,words ,the ,diacritical ,marks given are those found in the latest edition of ,webster's ,international ,dictionary4 ,,explanation ,,of ,,diacritical ,,marks4 ,a ,dash 77 above the vowel denotes the long sound1 as in fate1 eve1 time1 note1 use4 ,a ,dash and a ,dot 747 above the vowel denote the same sound1 less prolonged4 ,a ,curve 777 above the vowel denotes the short sound1 as in 7ad 7end1 7ill1 7odd1 7up4 ,a ,dot 747 above the vowel a denotes the obscure sound of a in p4ast1 4abate1 ,am7eric4a4 ,a ,double ,dot 737 above the vowel a denotes the broad sound of a in faether1 aelms4 ,a ,double ,dot 737 below the vowel a denotes the sound of a in ba3ll4 ,a ,wave 77 above the vowel e denotes the sound of e in her4 ,a ,circumflex ,accent 77 above the vowel o denotes the sound of o in born4 e sounds like e in d4ep7end4 o sounds like o in pr4opose4 c sounds like s4 -c sounds like k4 s sounds like ,z4 g is hard as in get4 4g is soft as in 4gem4 ,amsterdam 77,am'sterd7am74 ,apocrypha 74a p7ok'r7i f4a74 ,aramaic 77,ar4ama'7i-c74 ,asenath 7,ase'n7ath74 ,assyria 77,ass7yr'7i4a74 ,azarias 77,az4ari'7as74 ,bathsheba 7,b7athshe'b4a74 ,bethlehem 7,b7eth'leh7em74 ,bildt 7belt74 ,braun 7brown74 ,breestraat 7bra'straet74 burgher 7ber'ger74 ,capernaum 7-,caper'na7um74 ,cassel 7kaes's7el74 chiaroscuro 7kyae r4o skoo'r4o74 ,cleopas 7-,cle'op7as74 ,cocq 7kk74 ,coppenol 7k7op'p4e n7o74 ,creusa 7-,creu's4a74 cuirass 7kwe raes'74 cymar 7si maer'74 doelen 7doo'l7en74 ,ecbatane 77ek b7at'4a n7u74 ,elsbroek 77els'brook74 ,emmaus 7,emma'7us7 or 77em'ma 7us74 ,enemessar 7,enem7es's7ar74 ,ephraim 7,e'phra7im74 etzn 77et'z7n74 ,friesland 7frez'l4and74 ,fromentin 7fr4o m7o,n t77a,n'74 ,gabael 7,g7ab'4a7el7 or 7g4a'b4a 7el74 ,galileo 7,g7al7ile'4o74 ,gennesaret 74,g7enn7es'4ar7et74 ,goethe 7ge't7u74 ,hague 7hag74 ,hamelin 7hae'm7e l7in74 ,hanfstaengl1 ,franz 7haenf'stangl fraents74 ,hatto 7h7at'4o74 ,hillegom 7h7il'l4e g7om74 ,israel 7,i4s'ra7el74 ,jason 7,ja's7on74 ,jericho 7,j7er'7i-cho74 ,joden 7yo'd7en74 ,lastman1 ,pieter 7laest'maen pe'ter74 ,leyden 7li'd7en74 ,louvre 7loo'vr74 ,manasseh 7m4a n7as's7u74 ,manoah 7,m4ano'4ah74 ,mater ,dolorosa 7ma'ter d7ol 4o ro's4a74 ,medaea 7m4e de'4a74 ,media 7me'd7i 4a74 ,michel 7m4e sh7el'74 ,muiderberg 7moi'de7r b7erg74 ,nazareth 7,n7az'4ar7eth74 ,nineveh 7n7in'4e v7u74 ,odalisque 7o'd4a l7isk74 ,padanaram 7,pad4ana'r4am74 ,palestine 7,p7al'7estine74 ,peniel 7,p4eni'4el74 ,penuel 7,p4enu'7el74 ,purmerland 7,p7ur'merl7and74 ,rages 7,ra'ges74 ,raguel 7,r4agu'7el7 or 7r7ag'u 7el74 ,raphael 7rae'fa 7el74 ,rembrandt 7r7em'br7ant74 ,ruytenberg1 ,willem van 7roi'te7n b7erg w7il'l7em vaen74 ,ryks 7,ryks74 ,saskia 7saes'k4e 4a74 ,sennacherib 7,s7enn7ach'4er7ib74 ,simeon 7,s7im'4e7on74 ,six1 ,jan 7sex yaen74 ,stuttgart 7st7oot'gaert74 ,sylvius1 ,jan ,cornelis 7s7il'v4e 7oos yaen k4or ne'l7is74 ,syndic 7,s7yn'd7i-c74 ,swanenburch 7swae'n7en b7oor,k74 ,tigris 7,ti'gr7is74 ,tobias 7,t4obi'7as74 ,tobit 7,to'b7it74 ,trippenhuis 7tr7ip'p7en hois74 ,uylenborch1 ,rombertus van 7oi'l7en b4or,k r7om b7er't7oos vaen74 ,vlaerdingen 7vlaer'd7ing 7en74 ,vondel 7v7on'd7el74 ,wijmer 7wi'mer74 99 99 99 99 99